Nordic Music Days 2019

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SANDHED?

DOUHTAVUOHTA? TRUTH? SÁDNESVOUHTA? ILUMOORTOQ? SANNING? TOTUUS?

TUÕĐŠVUÕTT? SANNHET? SAETNIESVOETE?

SANNLEIKI? SANNLEIKURINN? SANNING? TOSI?

TRUTH?

13–16 november


WEDNESDAY, NOVEMBER 13th 10:00 Listen! Contemporary loudspeaker hits | Stormen Bibliotek, litteratursalen | 16 14:00 World premiere for carillon | Bodø domkirke | 18 14:30 Talk: Rituals, voice, the everyday and the holy | Stormen Bibl., litteratursalen | 20 17:00 Vocal Celebration | Stormen Konserthus, store sal | 22 19:00 Civilized Music | Stormen Konserthus, store sal | 28 21:00 Mathrix | Stormen Konserthus, foajé | 30 22:00 Mechanical Night | Stormen Konserthus, Sinus | 32

THURSDAY, NOVEMBER 14th 09:00 Carillon: the Sacredness of Trees | Bodø domkirke | 18 10:00 Talk: Can music be female? | Stormen Bibliotek, litteratursalen | 34 12:00 Loudspeaker Orchestra | Stormen Konserthus, lille sal | 36 13:00 Mathrix | Stormen Konserthus, foajé | 30 13:00 Tasteful Turntable | Stormen Konserthus, kammersalen | 38 14:00 Talk: Language as sound and music | Stormen Bibliotek, litteratursalen | 40 15:00 Tasteful Turntable | Stormen Konserthus, kammersalen | 32 15:00 Vernissage | Stormen Bibliotek, galleriet | 42 17:00 Tasteful Turntable | Stormen Konserthus, kammersalen | 38 19:00 Hinterland Archives | Stormen Bibliotek, boksamlingen | 44 21:00 Land of Absence | Bodø domkirke | 46

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FRIDAY, NOVEMBER 15th 09:00 Carillon: the Sacredness of Trees | Bodø domkirke | 18 10:00 Listen! Contemporary improv hits | Stormen Bibliotek, litteratursalen | 48 12:00 Cikada | Stormen Konserthus, foajé | 50 14:00 Talk: Music and the postcolonial | Stormen Bibliotek, litteratursalen | 52 16:00 Mysteries of Communication | Stormen Konserthus, lille sal | 54 17:30 Mathrix | Stormen Konserthus, foajé | 30 18:30 Triangular Mass | Stormen Konserthus, foajé | 56 19:00 Stormen 5 years | Stormen Konserthus, store sal | 58 21:00 Talk: Robots and Music | Stormen Konserthus, foajé | 62 22:00 Robotic Stories | Stormen Konserthus, lille sal og Sinus | 64

SATURDAY, NOVEMBER 16th 10:00 Carillon: the Sacredness of Trees | Bodø domkirke |18 11:00 Listen! Contemporary hits with visuals | Stormen Bibliotek, litteratursalen | 66 11:00 Nordic kid’s hub | Stormen Bibliotek | 68 13:00 I heard the sound of their wings | Bodø domkirke | 72

15:00 Sad Truth | Stormen Konserthus, lille sal | 76 18:00 Talk: Contemporary Medea and Lysistrate | Stormen Konserthus, foajé | 78 19:00 Moments of Truth | Stormen Konserthus, store sal | 80

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Cover painting: Leif Haglund

14:00 Talk: Music and truth | Stormen Bibliotek, litteratursalen | 74


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Kart over Bodø sentrum Map of Bodø city centre 1: Stormen Konserthus 2: Stormen Bibliotek 3: Radisson Blu Hotel, Bodø 4: Bodø domkirke

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Velkommen til Nordiske Musikkdager og velkommen til Bodø! Nordiske Musikkdager er alltid i bevegelse og flytter mellom de nordiske landene hvert år. Det er ekstra stas at festivalen i år har landet nord for polarsirkelen, for aller første gang. Festivalen er den største og eldste internasjonale arenaen for fremføring og presentasjon av ny nordisk kunstmusikk.

Innen festivalen har forlatt Bodø har rundt 35 arrangementer funnet sted, fordelt på fire intense dager, i Stormen Konserthus, Stormen Bibliotek og Bodø Domkirke. I vår sendte vi seks nordiske kunstnere til den vesle øya Fleinvær. Her samlet de lyder, bilder, filmer, inntrykk og fellesskap under overskriften Sad Truth. Menneskene er intellektuelt rustet til å velge å leve i likevekt med naturen og til å vise omsorg for naturens mangfold. Hvorfor velger vi likevel å ikke gjøre det som åpenbart fremstår som det viktigste og riktigste? Vi er den første generasjonen som har nok kunnskap og gode nok verktøy til å ta grep – hvis vi bare vil det nok. Når ordene i samfunnsdebatten er brukt opp, åpner det kanskje et rom for kunsten og musikken som meningsytring. Dette prosjektet får vi se mer til i løpet av festivaluken.

Årets festivaltema er Sannhet? Tematikken oppstod mens #metoo-bølgen var på sitt høyeste og vi hele tiden ble påminnet om at hva det er som er sant alltid avhenger av perspektivet. I musikk og kunst er man trent til å utfordre alle sannheter og samtidig har både musikk og kunst en rekke vedtatte sannheter som man er ment å følge. Med denne festivalen vil vi stille spørsmål om Sannhet i en nordisk kunstmusikalsk sammenheng. Til Bodø kommer komponister, kunstnere og utøvere fra hele Norden for å lytte, diskutere og møte publikum. Festivalprogrammet inneholder alt fra lokal sangglede til høyteknologisk robotmusikk, flersanselige opplevelser med mat og lyd til storslåtte konserter i Stormen Konserthus. Det blir et splitter nytt verk for klokkespill, systemkritikk og skarp feministisk tale i konsertform. Musikk som interaktivt strategispill, høyttalerorkester, taktile stoler og havet selv – både inne og ute.

Gjennom et omfattende juryarbeid med representanter fra Færøyene, Island, Finland, Sverige, Danmark og Norge har vi spredt mye kunnskap og kjennskap over landegrensene. Over 600 verk ble sendt inn, og det har vært utrolig spennende å se hvordan de forskjellige landene har ulike tradisjoner og trender. Generelt er jeg imponert over nivået og kunne gjerne laget festival i flere uker uten å gå tom for godt innhold! Går det an å diskutere om musikken er sann? Hvilket repertoar blir kanonisert og hvilke prosesser, strukturer og eventuelt tilfeldigheter former historieskrivingen? Kan vi rette opp i skjevvurderinger som allerede er gjort? Og skal vi? Står musikken, som ofte er ordløs, friere enn andre kunstformer? Er virkeligheten et antonym til kunst og kunstighet? Min historie er like sann som din – men den blir aldri den samme historien. Eier alle sin egen sannhet? Spørsmålene tar vi med oss i et kompakt program med ca. 60 komponister fra hele Norden. På scenen finner

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vi sterke lokale utøvere i Vocal Art, Arktisk Filharmoni, Ylajali, Bodø Domkor og Gro Bergrabb. Tilreisende kommer Cikada (NO), Esbjerg Ensemble (DK), og flere utsøkte solister. Mitt ønske er at at vi møtes i musikk og samtale denne uka. Gå på konsert og møt opp på samtalene for å høre mer om tankene bak verkene. Bli med på diskusjonene og oppsøk noe du ikke har testet før. Jeg kan garantere nye opplevelser, friske impulser, tankevekkende og store musikalske øyeblikk. Nyt Bodø, kanskje blir det nordlys å se? Lytt til havet, helt til et F16-jagerfly avbryter. Bodø har det meste, i en kompakt kjerne. God festival! Foto: Andreas Ulvo

Therese Ulvo Festivalsjef, Nordiske Musikkdager 2019

Welcome to Nordic Music Days and welcome to Bodø! Nordic Music Days is always on the move, and wanders between all the nordic countries. It’s a great joy to present the festival north of the Arctic Circle for the very first time. The festival is the largest and oldest international arena for the performance and presentation of new Nordic art music.

Composers, artists and performers from all over the Nordic region converge on Bodø to listen, discuss, and meet the public. The festival program includes everything from local choirs to high-tech robot music, multi-sensory experiences with food and sound to magnificent concerts in Stormen («The Storm» Concert Hall). There will be a brand new work for carillon, social critique, and sharp feminist speech in concert form. There will be music as interactive strategy game, a loudspeaker orchestra, tactile chairs - even the sea itself... and not just outside.

This year’s festival theme is Truth? The theme originated at the height of #metoo, where one was constantly reminded that what truth is can differ according to the angle from which it’s seen. In music and art one is trained to question everything, yet at the same time there is a body of conventional ‘truths’ about music and art to which one is supposed to adhere. With this festival, we will ask questions about Truth in a Nordic art music context.

Before the festival has left Bodø, around 35 events will have taken place, over 4 intense days in Stormen Concert Hall, Stormen Library and Bodø Cathedral.

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incredibly exciting to see how the different countries’ traditions and trends express themselves. In general, I am greatly impressed with the artistic level on offer, and could happily program a festival lasting several weeks without running out of good content! Is it possible to discuss “truth” in music? Which repertoire becomes canon, and which processes, structures, and coincidences inform the historiography? Can we correct the skewed judgements that have already been made? Is music, often wordless, freer than other art forms? Is “reality” an antonym to art and artifice? My story is as true as yours - but it is never the same. Does everyone own their own truth? This spring, the project Sad Truth was born. Six artists were gathered for a week on the small island of Fleinvær, outside Bodø. They collected sounds, pictures, films and togetherness, and collaborated on digital artworks. Human beings are perhaps the first beings on Earth who can and must make a choice about whether to live in equilibrium with nature as a

We will bring these questions in to a compact program with about 60 composers from all over the Nordic region. On the stage we find strong local performers in Vocal Art, Arctic Philharmonic, Bodø Cathedral Choir, Ylajali and Gro Bergrabb. Visiting artists include Cikada (NO) and the Esbjerg Ensemble (DK), both specialists in the field.

whole, or take care of its diversity. Why then do we choose not to do that which is obviously correct and important? We are the first generation to have both the knowledge and tools to take action - if we had the will. So, when the words that form the social debate are drained of their power, perhaps a space opens up for art and music to meaningfully contribute. We will meet «the sad truth» in different forms throughout the festival.

My wish is that we meet in music and in conversation this week. Go to a concert and attend the talks to hear more about the thoughts behind the works. Join the discussions and try something you haven’t tried before. I can guarantee new experiences, fresh impulses, thought-provoking and wonderful musical moments. And enjoy Bodø - maybe there will even be Northern Lights to see. Listen to the ocean, until an F-16 fighter jet interrupts. Bodø has a lot to offer, in a compact core.

Through a comprehensive jury process, with representatives from the Faroe Islands, Iceland, Finland, Sweden, Denmark and Norway, we have increased knowledge and awareness across our borders significantly. Over 600 works were submitted. It has been

Enjoy! Therese Ulvo Artistic Leader, Nordic Music Days 2019

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Hvorfor Nordiske Musikkdager? Nordic Music Days ble arrangert for første gang i 1888, og har siden blitt arrangert av de nordiske komponistforeningene gjennom Nordisk Komponistråd. Når noe har eksistert så lenge er det lett å ta for gitt at det skal fortsette. Det er ikke selvsagt. Festivalen er et krevende prosjekt for organisasjoner av ulik størrelse, med ulik økonomi og organisering. Det er både utfordrende og spennende å lage et arrangement som flytter rundt i verden fra år til år, hver gang med en ny prosjektledelse, med en ny form, på et nytt sted og med et nytt publikum. Så, det er ikke enkelt å lage Nordic Music Days, men vi gjør det likevel. Dels fordi vi mener det i seg selv er viktig å presentere og stimulere til fremføring av ny kunstmusikk— dels fordi vi ser betydningen av å gjøre dette i en nordisk sammenheng ved å styrke kontakten mellom de nordiske musikkmiljøene. Gjennom festivalen vil vi vise frem den nye musikken skapt i Norden og bringe sammen et nordisk publikum, og nordiske komponister og musikere. Det er slående hvor stort spektret av uttrykk er i Norden, og hvor forskjellig ulike musikalske uttrykk utformes i de nordiske landene. De nordiske musikkmiljøene er hver for seg små i global sammenheng, men sammen utgjør vi en kraft å regne med, og vi blir ofte sett på som en enhet. Vi har tro på at vi kan dyrke begge deler: både de ulike landenes særpreg, og også et nordisk fellesskap.

Og vi ser at det nordiske samarbeidet virker. Nordiske komponister og musikere hevder seg på høyt nivå internasjonalt og de nordiske komponistforeningene i Nordisk Komponistråd er sammen pådrivere i utviklingen av kulturpolitikk i hele Europa. Nordic Music Days har i over 130 år vært en plattform som har bidratt til å gjøre dette mulig, og vi håper at også årets festival vil skape minner, opplevelser og forbindelser mellom folk og kunst som gir virkninger langt ut over festivaldagene. God festival! Jørgen Karlstrøm Styreleder i Norsk Komponistforening og president i Nordisk Komponistråd

Foto: Renate Madsen

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Why Nordic Music Days? Nordic Music Days debuted in 1888, and has since been organized by the various Nordic composers’ associations through the Nordic Council of Composers. When something has been around for this long, it’s easy to take for granted that it will continue. It is not a given. The festival is a demanding project for organizations of different sizes, with differing finances and structures. It is both challenging and exciting to create an event that moves around the world from year to year, each time with new project management, a new form, in a new place and with a new audience. So, it’s not an easy task to put on Nordic Music Days, but we persevere - partly because we consider it important to present and stimulate the performance of new art music, and partly because we see the importance of doing this in a Nordic context, strengthening the contact between the Nordic music communities. Throughout the festival we will showcase new music created in the Nordic region, and bring together a Nordic audience, together with Nordic composers and musicians. It is striking how wide the range of expression in the north is, and how different the various musical expressions formed in the Nordic countries are. The Nordic music communities are individually small, in a global context, but together we are a force to be reckoned with, and often seen as a unit. We believe that we can cultivate both: the distinctive character of each of the Nordic countries, and also a Nordic community.

And we see that Nordic cooperation works. Nordic composers and musicians assert themselves at a high level internationally, and the Nordic composers’ associations in the Nordic Council of Composers together are drivers of the development of cultural politics throughout Europe. Over the last 130 years, Nordic Music Days has been a platform that has helped to make this possible, and we hope that this year’s festival will also create memories, experiences and connections between people and the arts whose effects will last far beyond the festival days. Enjoy the festival! Jørgen Karlstrøm Chairperson of the board, Norwegian Society of Composers and president, Nordic Council of Composers

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Talk/Listen! Samtaleprogram En musikalsk sannhet er annerledes enn en språklig sannhet. Musikk kan være tvetydig på andre måter enn språk kan. Hva snakker vi om når vi snakker om musikk? I et samtaleprogram som går parallelt med festivalens konserter, kan du bli kjent med komponister, utøvere og musikkfolk fra festivalen og fra Bodø, og med deres tanker om musikk. Programmet er kuratert av Hild Borchgrevink.

Program of talks A musical truth is different than a linguistic truth. Music has a possibility, less open to logical thought, to be ambiguous. What do we talk about when we talk about music? In a program of talks running parallel to the festival concerts, you will get to know composers and performers from the festival and from Bodø, and their thoughts about music. The program is curated by Hild Borchgrevink.

Saltstraumen, Bodø Foto: Arvid Høidahl

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13.11.

Listen! Contemporary loudspeaker hits

Foto: Celobrius

10:00 | Stormen Bibliotek, litteratursalen | Free entry

Charlotte Piene, Katt Hernandez og Are Simonsen spiller sine favoritter innen høyttalerverk. Moderator: Hild Borchgrevink Charlotte Piene, Katt Hernandez and Are Simonsen play loudspeaker favourites. Moderator: Hild Borchgrevink

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Music has to be true, and it has to be composed of a deep feeling of sincerity. I’m always struggling with being true to my self when I write music, and in that respect, I believe and hope that the music also will be true!

Sunleif Rasmussen

Foto: Lars Skaaning


Foto: Sigurd Fandango

13.11.

WORLD PREMIERE FOR CARILLON 14:00 | Bodø Domkirke | Free entry The Sacredness of Trees by Ellen Lindquist, commissioned by Nordic Music Days. Performed by Vegar Sandholt. Klokkespillet i Bodø domkirke er et vakkert instrument, bygget i 2012 med 50 klokker (litt mer enn 4 oktaver) som ble støpt på Royal Eijsbouts-fabrikken i Asten, Nederland. Royal Eijsbouts er av de eldste og mest respekterte klokkestøperiene i verden (den dypeste klokken på Notre-Dame i Paris ble støpt der). Med dette verket får festivalen sine egne kjenningstoner som skal sette byen i gang hver dag under festivalen.

Ellen Lindquist about The Sacredness of Trees: I am honored that Nordic Music Days commissioned this piece from me, and am so pleased that it will be played each day at the festival. The festival’s theme of Truth? was of course foremost in my thoughts as I started my work. Thinking about the bells themselves, the concept of Truth? soon merged with my focus on the rich overtones of the bells. I came to think about the concept of overtones, and the fact that in English we sometimes use the word ‘overtone’ to denote something which is present or felt, without being stated. I started to think about the overtones of a bell —some very present, some barely audible— as that which expresses the bell’s true character. Maybe our outward presence in the world can be expressed as our ‘fundamental’, while our true complex character is expressed by our own subtle, unique, felt-but-notheard mix of natural harmonic and non-harmonic overtones.

The Bodø Cathedral carillon is a beautiful instrument, built in 2012 with 50 bells which were cast at the Royal Eijsbouts factory in Asten, the Netherlands. Royal Eijsbouts is one of the oldest and most respected bell foundries in the world (the deepest bell at Notre-Dame in Paris was cast there). With this piece, the festival get its very own tones that will get the city started every day during the festival.

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When I talked with Royal Eijsbouts about the tuning of the bells, I learned that each bell is tuned to certain standards, but that in addition all of the bells in the set are tuned to one another. This reminds me of the Indonesian gamelan tradition, in which the entire gamelan (many instruments) is tuned to the lowest gong, which is called Ageng. The reason is spiritual in addition to musical: it was in the Ageng that the soul of the entire gamelan was said to reside, the Ageng that was capable of communicating with the gods. Inspired by the gamelan concept of tuning all instruments to the lowest bell, I have built my new piece for Nordic Music Days upon the harmonics of the lowest

bell in the Bodø carillon. It is an exploration of the subtleties of inner truth (represented by the complex overtones of the Bodø carillon), and the interaction of that inner truth with the ‘outer’ truth of the surrounding city and landscape.

Will also be performed: Thursday, November 14th, 9:00 Friday, November 15th, 9:00 Saturday, November 16th, 10:00

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13.11.

Talk: Rituals, voice, the everyday and the holy

Foto: Soffi Chanchira Larsen

14:30 | Stormen Bibliotek, litteratursalen | Free entry

Related to these concerts: World premiere for Carillion and Vocal Celebration Bjørn Andor Drage, Ellen Lindquist and Mette Nielsen om ritualer, stemmen, hverdagsliv og helligdom. Moderator: Hild Borchgrevink Bjørn Andor Drage, Ellen Lindquist and Mette Nielsen on rituals, voice, the everyday and the holy. Moderator: Hild Borchgrevink

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For me, music is true when the composer is true to herself when composing it. Often this isn’t as simple as one could think, it takes time to find the way in yourself to this truthfulness, and to build the technical means to express it. Nevertheless, it is really important that the artist finds a way to express herself sincerely, thus giving their work depth and individuality. We are touched by artists who have ‘something to say’, even if that something is difficult to define with words in music. I think that arts are needed today maybe more than ever, as spirituality is not present in our lives, and our society is brutally commercial. Many artistic and innovative skills are used for pure manipulation or economic profit. We need free, independent, creative minds! Of course, I am questioning myself about all of this in my life and work.

Kaija Saariaho

Foto: Christophe Abramowitz


Foto: Marte Antonsen/Big Picture AS

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VOCAL CELEBRATION 17:00 | Stormen, Store sal | Free entry Bodø Domkor, conductor Gro Bergrabb, Ylajali, conductor Soetkin Baptist, Vocal Art, conductor Kjetil Almenning. Bodø har et usedvanlig Klokkespillet i Bodø domkirke stort kormiljø, er et vakkert og instrument, bygget lidenskapen for sang i 2012 er stor med i nord! 50 bjeller Her finnes (litt merfor kor ennenhver 4 oktaver) smaksom og ambisjonsnivå, ble støpt på Royal og på Eijsbouts-fabrikken denne konserten møter i Asten, vi deNederland. fremste - inkludRoyal Eijsbouts ert Vocal er Artav som de er eldste byens ogspydspiss. mest respekterte klokkestøperiene i verden (den dypeste bjellen påhas Bodø Notre-Dame an unusually i Paris large blechoral støpt der). environMed dette verket ment, and the fårpassion festivalen for singing sine egne is great kjenningin stoner the north! somHere skalare sette choirs byenfor i gang every hver taste dag and underoffestivalen. level ambition, and at this concert we meet the foremost among them - including Vocal The Bodø Art, that Cathedral is the spearhead carillon isof a beautiful the city.instrument, built in 2012 with 50 bells (a bit more than 4 octaves) which Og dansurin were castgongur at the Royal Eijsbouts factory in Asten, This poem the Netherlands. was written inRoyal memory Eijsbouts of those is one whoofdied the oldest andFaroese onboard most respected trawler Stella bell foundries Argus when in the it sank world in (the deepest 1957. 22 menbell aged at Notre-Dame 15–53 wereinonParis the ship. was cast None there). With survived. No-one this piece, knows theforfestivals certainget what its very happened, own tones but it isthat thought will get thatthethecity ship started capsized. every The daypoet during imagthe festivals.

Iines am the honored men linking that Nordic arms and Music dancing Days commissioned a chain dance this piece around thefrom islands. me, and am so pleased that it will be played each day at the festival. The festival’s theme of Truth? was of course foremost in my thoughts as I started my work. Thinking about the bells themselves, theProgram: concept of Truth? soon merged with my focus on the rich overtones of the bells. I came to think about Kari Bæk the concept of overtones, and the fact that in English Dansurin Gongur, Bodø Domkor (np) we sometimes use the word ‘overtone’ to denote something which is present or felt, without being Birgit Djupedal stated. started to think about overtones of a bell— I mittI hus i himmelen, Bodø the Domkor some very present, some barely audible— as that Mette Nielsen which expresses the bell’s true character. Maybe our Songs from your childhood, Ylajali (np) outward presence in the world can be expressed as our ‘fundamental’, while our true complex character Carl Bergstroem-Nielsen is expressed by ourYlajali own subtle, HO-HE-HA-HI, (wp) unique, felt-but-notheard mix of natural harmonic and non-harmonic Olli Kortekangas overtones. The Return, Vocal Art (np)

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Og dansurin gongur

And They Dance (komp. 1992)

Stormdunið inn yvir bygdirnar stendur – burtur er sóltíð og gaman – í briminum uttast við úthavsins strendur taka sjólætnir hendurnar saman.

The storm thunders over the villages – the time of sun and joy has gone – in the breakers by the outermost shores the shipwrecked men join hands.

Stíga ein dans við so havtungum stevi, aldar í ringinum víða av teimum, ið reistust av vátari legu ein dans í brotunum stíga.

Tread a dance with heavy steps, the wide ring is waving of those, who rose from the wet bed treading a dance in the breaking sea.

Og inn yvir mannabústaðir stendur í brotum eitt havborið kvæði – andlit læsast í ótta, og hendur faldast í síðsvørtum klæði.

And over the homes of men a seaborne song soughs with the surf – faces freeze in fear, and hands are folded in black clothes.

Oyrini nema ein farra av sálmum – bátar og segl fóru undir – ívovið ljóði frá svíkjandi málmum, tá jarnsnekkjan liðar seg sundur.

The ears sense a touch of hymns – boats and sails went under – woven into the sound of failing metal, when the iron vessel comes asunder.

Og dansurin gongur, oyra nemur – nema í hvørjari smáttu – í kvæðinum, inn yvir bygdirnar kemur málið á einum, tey áttu.

And they dance, and the ear senses – every home senses it – in the song the voice of their kin comes to the villages.

Og kvæðið gongur – stevtungar fjøldir halda hvør aðra í hendur – kvæðið frá teimum, sum gjøgnum øldir baldust við úthavnins strendur.

And the song continues – heavy-footed crowds hold hands – the song from those, who for ages struggled by the outermost shores.

Og einaferð fara vit eisini sjálvi – tá leiðin at enda er gingin – við úthavsins strendur – í broti og gjálvi – fara vit sjálv upp í ringin.

And some day we ourselves – when our journey finally has ended – by the outermost shores – in breakers and waves – we join the ring.

Tummas N. Djurhuus

Tummas N. Djurhuus. Transl. S. Bæk

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I mitt hus i himmelen I mitt hus i himmelen or In my house in heaven is a poem by Maren Barlien about the comforting thought that there is a house in heaven waiting for you when you die. Birgit Djupedal has composed the music, which is a mix of contemporary choral music with folk music elements. The piece explores how one musical tone or a musical line can spread around the room, from one voice to another.

HO, HE, HA, HI HO, HE, HA, HI is a choir piece which encourages the choir members to contribute within some given sounds in a polyphonic/heterophonic spirit, avoiding too much homophonic melting together. There are 4 categories of sounding material, as suggested by the title. The conductor may indicate a common category by pointing up, down, left or right. The indicated category will be the common framework of musical material for at least 10 seconds, after which members are free to alternate with the other sounds. Reactions to the conductor are always to be delayed for approx. 10 seconds and followed individually. In this way, heterophonic structures may arise, based on listening to each other and individual impulses. The conductor has, as in tradition, the role of being an architect of the overall form, but not of pointing out individual details.

Songs from your childhood In this piece, Mette Nielsen is exploring childhood, memories and nostalgia. Songs from the singers’ childhoods are used as raw material – as found objects. We are surrounded by children’s songs which we may or may not know. Maybe they become a blur to us, maybe they spark memories from our own childhoods, maybe we freeze in a moment and listen to the songs as abstract sounds. The songs we used to sing as children, or which our parents and grandparents sang to us, are something we all have in common. We all have memories of children’s songs, and they might be some of our most personal memories. “Songs from your childhood” will sound different with each choir who performs it, as the different singers sing the songs from their own childhoods. Choirs from different cultures will sound still more different from each other. But it will still be the same piece.

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Foto: Rolf Schjesvold

The Return The Return From the union of power and money, From the union of power and secrecy, From the union of government and science, From the union of government and art, From the union of science and money, From the union of genius and war, From the union of outer space and inner vacuity, The Mad Farmer walks quietly away.

(The Mad Farmer, Flying the Flag of Rough Branch, Secedes from the Union) The Return was commissioned by the Tapiola Chamber Choir and premiered at the choir’s 30th-anniversary concert in 2015. The text is by poet, farmer and activist Wendell Berry (b. 1934). A quotation from Wendell Berry: «The great enemy of freedom is the alignment of political power with wealth. This alignment destroys the common- wealth – that is, the natural wealth of localities and the local economies of household, neighborhood, and community – and so destroys democracy, of which the commonwealth is the foundation and practical means.» (The Art of the Commonplace: The Agrarian Essays).

There is only one of him, but he goes. He returns to the small country he calls home, His own nation small enough to walk across. He goes shadowy into the local woods, And brightly into the local meadows and croplands.

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He goes to the care of neighbors, He goes into the care of neighbors. He goes to the potluck supper, a dish From each house for the hunger of every house. He goes into the quiet of early mornings Of days when he is not going anywhere. Calling his neighbors together into the sanctity Of their lives separate and together, In the one life of the commonwealth and home, In their own nation small enough for a story Or song to travel across in an hour, he cries: Come all ye conservatives and liberals Who want to conserve the good things and be free, Come away from the merchants of big answers, Whose hands are metalled with power; From the union of anywhere and everywhere; By the purchase of everything from everybody at the lowest price And the sale of anything to anybody at the highest price; From the union of work and debt, work and despair; From the wage-slavery of the helplessly well-employed. From the union of self-gratification and self-annihilation, Secede into the care for one another And for the good gifts of Heaven and Earth. Come into the life of the body, the one body Granted to you in all the history of time. Come into the body’s economy, its daily work, And its replenishment at mealtimes and at night. Come into the body’s thanksgiving, when it knows And acknowledges itself a living soul. Come into the dance of the community, joined In a circle, hand in hand, the dance of the eternal Love of women and men for one another And of neighbors and friends for one another. Always disappearing, always returning, Calling his neighbors to return, to think again Of the care of flocks and herds, of gardens And fields, of woodlots and forests and the uncut groves, Calling them separately and together, calling and calling, He goes forever toward the long restful evening And the croak of the night heron over the river at dark.


Foto: Anders Lea KarlskĂĽs


13.11.

CIVILIZED MUSIC 19:00 | Stormen, store sal | Kr 290 / 240 / 100 Arctic Philharmonic Sinfonietta, Berit Norbakken Solset, Vocal Art, Tim Weiss. Med én urfremføring, tre norgespremierer og flere politiske vink setter denne konserten standarden for hva Nordic Music Days ønsker å være.

Rounds deals with the formation of tone and different types of repetition. Each tone has a life span if it is viewed with a microscopic eye: beginning, life, and end. These stages are examined, isolated, expanded, and repeated on a different scale. The piece was written for the Caput ensemble who gave the first performance last year with Gudni Franzson conducting.

autobiography of someone who never existed, which is funny, lively, and desperately sad. It was found in fragments after the Pessoa’s death. “Those who hope for nothing because it’s perfectly useless to hope”. Fernando Pessoa’s writing offers us the acceptance that dreams needn’t be converted into achievement. So, the piece consists of momentums of dreams; there is no interruption between the moments. In The Book of Disquiet, Pessoa says: «These are my Confessions and if I say nothing in them it’s because I have nothing to say.» It is very close to the concept of truth in the art which we try to define. Perhaps the nullity is a muse. The great truth the artist had to communicate in his writings was that nothing matters.“My soul is a hidden orchestra, I do not know what instruments, what violins and harps, drums and tambours sound and clash inside me. I know myself only as a symphony.”

Le gouffre de l’oubliis is inspired by the writings of Fernando Pessoa, mostly The Book of Disquiet, the

Civilizations is a piece about the colonial relation between Denmark and Greenland, in particular,

With a world premiere, three Norwegian premiers and several nods to the political, this concert sets the standard for what Nordic Music Days wants to be.

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and the (post-)colonial heritage of Western Europe in general. Civilizations, century-old recordings of Greenlandic drum singing are “civilized” through the addition of western harmony, instrumentation, and structure. A speaker describes and comments on the process of civilization both in musical and general terms. Eventually, the musical material of the drum singing samples is recomposed into choir music which is sung live: “We take the song from your mouths, we complete them, then we put them back”, the speaker announces. Civilizations is an attempt to deal with the right to history and culture as well as the concepts of heritage and civilization through music. The piece is not about Greenland or the colonies, but about you – us – the shameful heritage of exploitation, racism, and devaluation that our generations of Western Europeans have difficulty handling properly.

was sitting there listening she thought of the fact that Brahms probably could have made an orchestral version of this piece if he had wanted to, but at the same time his contemporary female composers were not given the chance to write for orchestra at all. Quatre Instants was born from Karita Mattila’s desire to have a new work for her recitals in Châtelet Theatre and Barbican Centre in April 2003. From the first moment Kaija Saariaho discussed these songs with her she had a clear idea of the feelings that she wanted this music to evoke. Knowing the hugely expressive spectrum of Karita’s voice, she imagined a whole section of music built of contrasting images, sub-sections of which would be compressed into short but powerful moments. This reflection also gave the songs their title: “four instants”. The fact that these instants are associated with different faces of love is without a doubt connected with the fact that she have HAS seen Karita playing the role of a loving woman in so many opera productions. The cycle was originally written for soprano and piano. Trying to extract the colours Saariaho had in her mind from the piano, and at the same time adapting its vast expressive scale to the diminutive vocal lines, reminded me SAARIAHO of the work of a jeweler, who, with the help of a loop, creates rich, microscopic details.

At a concert with the Oslo Philharmonic Bente Leiknes Thorsen was struck by the enormous impact “man crushes” have had on the music history. They quote each other, they rewrite each other’s music and they promote each other. Incessantly. At said concert they heard Webern’s colourful Bach interpretation, which has a place in music history. They also performed Schönberg’s rewrite of a Brahms piano quartet - to Thorsen this makes a lot less sense to do. As she

Program: Haukur Tomasson Rounds (np) Farangis Nurulla Le gouffre de l’oubliis (wp) Niels Rønsholdt Civilizations (np) Pause Bente Leiknes Thorsen The feminist guide to the Sinfonietta Kaija Saariaho Quatre Instants (np)

Foto: Maria Baaring

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13.11.

MATHRIX 21:00 | Stormen, foajé | Free entry A complex modular synthesizer and a strategic board game for four players, made by Håkan Lidbo. Mathrix er en kompleks modulær synthesizer og et strategi-brettspill for 4 deltagere. Kan estetisk tenking og strategisk tenkning være en og samme ting? Hva skjer når vi designer spill, verktøy og musikkinstrumenter som er tenkt for fremtidmennesket?

Mathrix is a complex modular synthesizer and a strategic board game for 4 players, made by Håkan Lidbo. Can aesthetic thinking and strategic thinking be the same thing? What happens if we design games, tools and musical instruments that are not for us humans as we are - but for the people we can become in the future?

Mathrix kan også oppleves torsdag kl 13–14, fredag kl 17.30–18.30, og på Nordisk familiedag lørdag kl 11–15.

Mathrix can also be experienced Thursday at 13–14, Friday at 17.30–18.30, and at the Nordic Kid’s Hub, Saturday 11–15.

Kom og spill!

Come play!

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Foto: Lars Svankjær

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Music is very deceptive and seductive. In that sense, music is untruthful: in a way it always lies. I love that about music. I think the search for ‘true’ music is a boring quest, I would much rather work with the lies and deceptions of music. I have the feeling that there is always a hidden story to music, there is always something resonating along, something not being said, which might be the most important.

Niels Rønsholdt 31


13.11.

MECHANICAL NIGHT 22:00 | Stormen Konserthus, Sinus | Kr 225 / 100 My Hellgren, Johan Svensson, Henrik Dagfinnrud, Guro Lødemel, Thoranna Björnsdottir, Federico Placidi. Velkommen til mekanisk kveld på Sinus! Forholdet mellom menneske og maskin skal her utforskes på ulike vis. Elektromekaniske strukturer, motorer, lysdioder, og høyttalere på innsiden av kroppen er noe av hva kvelden byr på.

the other part. Three studies for two voices is written for the concert series «Matter, Virtuality and the Expanded Body» (Malmö, March/April 2017). This work transforms two singers into hybrid beings by inserting two small speakers in their mouth. The “voice” (electronic tones, noise and clicks) is then provided by the body expansion. The physical voice of the performers is not used at all in these three short studies.

Welcome to Mechanical Night in Sinus! The relationship between man and machine will be explored in various ways. Electromechanical structures, motors, LEDs, and speakers inside the body are just some of what the evening offers.

Lucid is a word which describes a state of consciousness, an epiphany where the substance of reality it is revealed; the power and energy of nature in its raw untamed force, and the spiritual energy field that binds everything, soul and matter, together Lucid means Real. Lucid is as an artistic collaboration between Thóranna Björnsdóttir and Federico Placidi. It has been developed and finalized in the domain of interactive electro-acoustic performance, and as

Marionette (2018) is a kind of duo where the string player is one part and an electromechanical structure (built from motors, vibrators, LEDs, light bulbs and relays) is the other. As if connected with invisible strings, a human-machine relationship is created where movements and actions are reproduced in the medium of

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a recording project. The work aims to bind together two different geographical and cultural domains. These two geographical constraints, productions, different human beings, and the music produced is a dialogue between two souls which are trying to unify both vision, aesthetics, and purposes. Björnsdóttir and Placidi collected earthy sound material in Iceland, characterised by natural steam vents, tumbling lava rocks and boiling hissing clay. In Rome, they extracted and sculpted from this material and developed the piece musically, using hybrid analogue/digital tools that integrate different fields of music production into a single creative goal.

Program: Johan Svensson Marionette – performed by My Hellgren (np) Alessandro Perini Three studies for two voices (np) Guro Lødemel and Henrik Dagfinnrud Thoranna Björnsdottir and Federico Placidi Lucid (np)

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14.11.

Talk: Can music be female?

Foto: Andreas Ulvo

Foto: Erika Hebbert

10:00 | Stormen Bibliotek, litteratursalen | Free entry

Related to this concert: Civilized Music Kan musikk vĂŚre kvinnelig? Bente Leiknes Thorsen og Kaija Saariaho. Moderator: Gro Bergrabb Can music be female? Bente Leiknes Thorsen and Kaija Saariaho. Moderator: Gro Bergrabb

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Foto: Anders Lea KarlskĂĽs

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The truth of the natural world is not only beautiful: it also encompasses the destruction of our natural world, through global climate change, drilling for oil in the Lofoten islands, destruction of slĂĽttemark and blomstereng, unending production and disposal of plastic, thoughtless waste of good food thrown in dumpsters, and the list continues, seemingly endless. We are in the midst of an environmental emergency, and it will take many voices, among them the voices of artists, to turn the tide.

Ellen Lindquist

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14.11.

LOUDSPEAKER ORCHESTRA 12:00 | Stormen Konserthus, lille sal | Kr 225 / 100 Sören Hermansson, Joakim Sandgren, Juhani Silvola, Katt Hernandez and Natasha Barrett. Høyttalerorkester bestående av 24 høyttalere og omsluttende lyd!

and the small form takes us on a voyage through different states of tempi and cell patterns. Joakim Sandgren

Electroacoustic music, immersive spatial audio concert, cutting edge 3D experiences and spatialisation performance!

Failure on two levels is the main concern of Five failures in representing our true nature. Firstly, the failure of the piece itself to satisfyingly represent anything outside itself, and secondly, the failures of various systems of thought attempting to represent what a human truly is. (Absolute) music has never been very good at being ‘about’ anything, yet it has always excelled at being itself, thus arguably being the most ‘truthful’ art. Even with electroacoustic music, such as this piece, where the materials are largely digital or analog representations of ‘concrete’ sounds, I still find that my music mostly fails to be anything else than music. I am interested in the question of what a human truly is, and how this essential nature has at various times been represented as (or reduced to) either an animal beast,

I wrote bifurcations… for Sören Hermansson in 2016 after just finishing a larger piece. It went swift and was fun. We had met a few times before to work out the technicalities and possibilities. Then circumstances made it impossible to realize the piece that year. And in 2018 we retook the work, discovered more details and finished the piece, which was premiered in Stockholm at a portrait concert of me. It is a great pleasure to work with Sören and the precision he offers. The piece is dedicated to him. The composition explores the slowest part of my «notated tremolos» area that aren’t tremolos anymore,

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a soul/spirit, a mechanical machine, a mind/computer, or in the case of post-humanism, an illusion. Here, I am genuinely trying to represent these failed attempts in the actual sounding music.

Involuntary Expression is my latest acousmatic composition. In this piece I was interested in exploring how the spatial and dynamic behavior of sound can evoke the sensation of a living entity, and further, that of human agency. To do this, I first captured the physical micro-movements from three living motion sources – crowds attempting to collectively stand still, a cellist, and a drummer - using a high-speed and high spatial-resolution 3D motion-capture camera system. Rather than recording the sounds that these people made, I was instead interested in their physical movement that makes no sound in itself. The motion recordings resulted in extensive data documenting precise 3D space and time. I then used this data to control sound synthesis, spatialization, and to build temporal structures, magnifying micro-movements to fill the expanse of space and spectrum. Some of the instruments that the performers articulated while being recorded are also revealed in the music. The overarching emphasis is however on physical gestures turned into sound. I would like the listener to feel the music through the sound’s behavior in space, feel the involuntary movement from the inside, and the expression that then unfolds.

Juhani Silvola Vädersolsmodernitet is a combination of words, referring to the oldest image of Stockholm (see page 93), modernization and the illusion of sun dogs. The work is made as a model of an ephemeral plant, through which the listener is traveling, through streets, protests, train stations, festivals, kitchens, squares, bars, parks, childhoods, old ages: possible remembered or imagined times and places. The “Protagonist” in this work, who only appears once in the first movement, is someone I envision being born in late 40s early 50s, living alone in an old “hyresrätt”. They also traverse the city of Stockholm at varying points in its last 100 years of history, perhaps crossing paths with those who are listening. Rather than push this story, I have left it vague, so that the listener can meet the psycho-geographical act of walking through Stockholm with their own imaginary cities. This approach is a direct repudiation of those forces in cities which seek to dominate the narrative, offering complexity in place of on-point messages.

Natasha Barrett

Katt Hernandez

Program: Joakim Sandgren Bifurcations Simples – performed by Sören Hermansson, horn (np) Juhani Silvola Five failures in representing our true nature (WP) Katt Hernandez Vädersolsmodernitet (np) Natasha Barrett Involuntary expression

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14.11.

TASTEFUL TURNTABLE 13:00 + | Stormen Konserthus, kammersalen | Kr 400 A symphony of taste and sound, performed by Nikolaj Kynde, Lars Kynde and Lars Berbusmel. Hvordan påvirker lyd vår oppfatning av mat, og hvordan påvirker smak vår opplevelse av musikk?

sin iPod-forbedrede sjømatrett, Sound of the Sea, og frem til i dag, der Ben & Jerry’s vurderer et sonisk utvalg av iskremsmaker. Denne versjonen av Tasteful Turntable er laget av et team av samarbeidspartnere: Chef Mette Martinussen, mat-artist Augusta Sørensen, keramisk artist Giulia Crispiani og komponistene Nikolaj Kynde og Lars Kynde. Sammen har de gjennomført omfattende tverrfaglig forskning for å etablere et tverrmodalt språk for kunstnerisk uttrykk for dette stykket.

How does sound affect our perception of food, and how does taste affect our experience of music? Tasteful Turntable er en forestilling som utforsker forholdet mellom smakssans og hørsel. Et langsomt svingende spisebord er designet spesielt for å gi gjestene parallell stimuli gjennom ørene og munnen. Verket blir fremført i intime omgivelser for bare tolv gjester om gangen. Maten skal ikke anses som et fullverdig måltid, men som en lyd- og smaksopplevelse.

Tasteful Turntable is a performance that explores the sense-interference between the two senses of tasting and hearing. A slowly turning dining table is designed specially to provide the guests with parallel stimuli through the ears and mouth. The composition will be performed in an intimate setting for only twelve guests at a time. The food should not be considered as a full meal, but rather a sound-and-taste experience.

Det har de siste årene vært en bølge i vitenskapelig forskning innen hvordan lyd påvirker smaken på maten vår. Kommersielt har det også vært stor interesse - fra Heston Blumenthal som i 1997 introduserte

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There have the past few years been a boom in scientific research in the area of how sound affects the taste of our food. Commercially there has also been large interest from Heston Blumenthal in 1997 introduced his iPod-enhanced seafood dish, Sound of the Sea, and till today where Ben & Jerry’s is considering a sonic range of ice-cream flavours. This version of Tasteful Turntable is made by a team of collaborators: Chef Mette Martinussen, Food-artist Augusta Sørensen, Ceramic artist Giulia Crispiani and the Composers Nikolaj Kynde and Lars Kynde. Together we have carried out extensive interdisciplinary research to establish a cross-modal language of artistic expression for this piece.

Info: Performance duration 45 minutes at 13.00, 15:00 and 17:00. Made by: Lars and Nikolaj Kynde (concept, composition and design) Mette Martinussen and Augusta Sørensen (chef, food composition) Giulia Crispiani (porcelain designs)

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14.11.

Talk: Language as sound and music

Related to these concerts: Land of Absence, Mysteries of Communication Nils Henrik Asheim og Loic Destremau om sprĂĽk som musikk og lyd. Moderator: Hild Borchgrevink Nils Henrik Asheim and Loic Destremau on language as music and sound. Moderator: Hild Borchgrevink

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Foto: Per Rasmussen

Foto: Knut Utler

14:00 | Stormen Bibliotek, litteratursalen | Free entry


Foto: Simon Carlgren

"

We have only explored a fraction of what music can be. There is a reason that most young people in the western world have music on all the time. It’s not so good that most of that music is composed like fast food, and not particularly nutritious, but the fact that we never seem to get enough of it tells us that it’s much more than entertainment or filling the silence. Music is a part of the human construction, without it we wouldn’t be humans. If scientifically explored, I’m confident that music will be of great importance when we, as humans, transcend into the next step of evolution.

Håkan Lidbo


14.11.

VERNISSAGE 15:00 | Stormen Bibliotek, galleriet | Free entry Works by Charlotte Piene and Konrad Korabiewski/ Kristjan Loรฐmfjorรฐ. Charlotte Piene: Sound Waves of Inner and Outer Territories The sound floats like liquids and the vibrations transfer it into your body, from the ground below you. There is nothing between you now. You are a part of it. It is a part of you. You share the sound, and the vibration tries to match the energy in your body. It is not similar. You get affected by the disturbance, of that something which just entered the room. Your space. Your inner space.

sending out from our bodies. Is this timbre the reason for our ability to connect with other people or places? We are tuning into each other. Everything has its own frequency and we harmonize or disharmonize with it, like pitches and timbres. What happens when something from the outside hits your most inner interior, your own frequency? In my practice, I try to combine the idea of the imaginary audible with social atmospheres, using sound, text, performance and drawing, as well as questioning various ways of listening.

Everything that surrounds me, affects me. Even if I only hear it or see it unconsciously. It changes my perception, and also how I act in different situations. Who am I when I meet people I know well, an acquaintance, a total stranger, or when I am all alone? I wonder if every human being has an internal system of sound inside, a kind of timbre or a frequency that we are

Charlotte Piene

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Konrad Korabiewski/Kristjan Loðmfjorð: NS-12 (np). Audio Visual installation with 5.1 surround sound and book presentation. NS-12 is an expressive and award nominated audiovisual portrait of an Icelandic fishing trawler created through the collaboration of filmmaker Kristján Loðmfjörð and composer Konrad Korabiewski. Presented as a multi-channel audio and visual installation, NS-12 poetically considers a fishing trawler in East Iceland as a self-contained world, a space which functions both as workplace and as collective living arrangement with its own rhythms, demands, and mythologies. Artistically, the ship is perceived as a living organism, as a musical instrument, and as an industrial, visual landscape with distinctive textures and colors. The additional NS-12 book recently published by Hatje Cantz Verlag includes essays by Daniel Canty and Anna Friz, an interview by Kristín Ómarsdóttir with Iceland’s former president Vigdís Finnbogadóttir, and online access to the full audiovisual work released in partnership with ZKM Institute for Music and Acoustics.

Opening hours: Thursday 14.11. Friday 15.11. Saturday 16.11. Sunday17.11.

15:00 – 21:00 10:00 –18:00 10:00 –16:00 12:00 –16:00

The exhibition is on display until December 1st.

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Foto: Chrisitan Leden, eier: Nasjonalbiblioteket

14.11.

HINTERLAND ARCHIVES 19:00 | Stormen Bibliotek, boksamlingen | Free entry By Erik Dæhlin. Performed by Cikada. Christian Leden (1882–1957) var komponist, musikketnolog og oppdagelsesreisende. Hans omfangsrike arkiv, som er i Nasjonalbiblioteket, inneholder lyd, film og foto fra hans mange ekspedisjoner. I 1920-årene rettet Ledens arbeid seg mot raseforskning, og han knyttet seg til flere nazistiske organisasjoner.

Christian Leden (1882–1957) was a composer, music technologist and explorer. His extensive archive, in the National Library, contains audio, film and photographs from his many expeditions. In the 1920s, Leden’s work focused on racial research, and he applied to several Nazi organizations.

Komponisten Erik Dæhlin har utforsket materialet fra Ledens ekspedisjoner i nordøstlige Canada og Grønland. Mye av dette har aldri før vært vist. Resultatet er arbeidet Hinterland Archives, som fremføres av Cikada Ensemble, et av landets fremste samtidsmusikkensembler.

Composer Erik Dæhlin has explored the material from Leden’s expeditions in northeastern Canada and Greenland. Much of this has never been exhibited in public before. The result is the piece Hinterland Archives, performed by the Cikada Ensemble, one of the country’s leading contemporary music ensembles.

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Foto: Nasjonalbiblioteket

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Foto: Rune Stolz Bertinussen

14.11.

LAND OF ABSENCE 21:00 | Bodø Domkirke | Kr 290 / 240 / 100 Vocal Art, Arctic Philharmonic Chamber Orchestra, and Kjetil Almenning. Sunleif Rasmussen sees “5 Faroese Songs” as his Opus 1. “Tell me, why the world is pretty” is the first melody he wrote at the age of 14. “Tell me, why the world is pretty” is the first poem by Karsten Hoydal, published in the 1920’s. Karsten was the brother of Sulleifs grandmother. At the beginning of the nineties, he found this melody and made a choir arrangement of it. The other four pieces are composed at the beginning of the eighties long before Sunleif entered the Royal Danish Conservatory in 1989. In these choir pieces, you can hear the quiet, melancholic mood that often still is a part of his music..

Pollination, where the vocal quartet sings from the perspectives of the flowers. The sounds of the piece are inspired by nature sounds as well as noise and electronic sounds. The life-giving pollen of the flowers is soaring in the same air as life-threatening dust and pollution. The sounds are purely acoustic, expressed by four female voices, trying to let their individual voices and choices break through the commotion of our complex, fragmented world. Terre de l’absence (Earth of absence) was a commission on the theme “Lamentations”. Madeleine Isaksson searched for a contemporary text and found the French translation of the vast collection of poems Mihyar of Damascus: His Songs (1961) by the syrian poet Adonis. The titles of the chosen poems are telling: Earth of Absence / The bridge of Tears / Island of Stones ... Some extracts from the Psaumes in the same collection are written at the beginning of each part in the score, and give a mental image of the wandering

Voice I & II: Pollution, pollination, pollution, pollination... Voice III: The fog claiming so thick, they could hardly remember... Voice IV: When all the roses are dead, what shall blossom on my grave? These are the opening phrases of Stine Sørlie’s piece

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king Mihyar through the Middle East: “He has no ancestors and his roots are in his steps... He walks in the abyss and has the silhouette of wind... Thus I’m living in the memory of air... I move towards the distant and the distant remains…” The piece is composed in six parts, linked by floating transitions or separated by short and dry pauses. The singing parts develop towards extreme tessituras through whispering soughs, harmonics, glissandos, rhythmical speech, and singing.

in Oslo in 2017 – the composer noted that the context had inspired him to attempt a step away from concepts of progress based on controlling nature, and instead engage with an indigenous experience of living with nature. The piece is in 18 sections, each based on a word in the Sámi language related to snow. The sound of these words represent the only phonetic material used by the choir in this music. Some of the words describe snow directly, others its impact on everyday human life – for example, ulahat means “an over-snowed winter trail which is barely visible”.

Muohta is the general word for snow in Sámi language, and snow is what the piece by Nils Henrik Asheim is about. Listeners are invited into a series of frozen soundscapes that span from meditative quietness to the odd contrasts of texture that may engender a sense of risk and unease. The piece depicts slow changes that are barely visible or perceptible to human senses. When the piece was performed for the first time – along with Joseph Haydn’s The Seasons

Pictures of fields without fences by Fredrik Gran aims to strip down the music to the essential parameters, to peel off and remove until what is left is some kind of ‘skeleton music’. It offers a meditation on the inevitable transformation or obsolescence of things, in the manner of a photograph which over time becomes faded and bleached by the sun.

Program: Sunleif Rasmussen 5 Færøske sange Stine Sørlie Pollination Madeleine Isaksson Terre de l’absence Nils Henrik Asheim Muohta Fredrik Gran Pictures of fields without fences (np) Foto: Anders Lea Karlskås

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15.11.

Listen! Contemporary improv hits

Thoranna Björndsdottir og Ola Kvernberg spiller sine favoritter fra samtidsmusikkens improviserte univers. Moderator: Hild Borchgrevink Thoranna Björndsdottir and Ola Kvernberg play favorites from the universe of contemporary improvisation. Moderator: Hild Borchgrevink

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Foto: André Løyning

Foto: Dagur Gunnarsson

10:00 | Stormen Bibliotek, litteratursalen | Free entry


Foto: Saga Sigurdadottir

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I feel silence always has a presence. In my music, with very few exceptions, there is never complete silence. I do intuitively feel that there’s an undercurrent in the music, and many layers. Sometimes when you remove some layers, and leave just one or a couple, you get different perspectives. That’s something I work with a lot in my music: how do you set the focus? How do you zoom in on some things, or zoom out? How do you use perspective between looking at the whole thing, or the details within that structure?

Anna Þorvaldsdóttir


Foto: Siv Dolmen

15.11.

CIKADA 12:00 | Stormen Konserthus, foajé | Free entry Lunch concert with Cikada. The doors open at 11.00. Velkommen til lunsjkonsert! Ta med deg matpakka eller kjøp mat i kaféen. Konsertene har fri entré, og dørene åpner kl. 11.00.

“When you see a long sustained pitch, think of it as a fragile flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquillity with the necessary amount of concentration needed to perform the task.”

Welcome to a lunch concert! Bring lunch or buy food in the cafe. The concerts have free admission, and the doors open at 11.00. Plasticity by Frej Wedlund is focused around a rhetorical relationship between a halting, yet flowing, material and a form of “quasi-silence” or composed pause. Superimposed on this pair is an expansion and compression, respectively, of musical time, where the piece extensively stretches out some aspects of the music, while condensing others.

Allan Gravgaard Madsen about SUITE: The night and the darkness fascinate me. It’s like the night helps you to forget and remember at the same time. Things, which you didn’t notice during the day, stand out and attract your attention - and details, that seemed very important in daylight, disappear in the shadows and become insignificant. I like to think that the day and daylight force you to be honest with others - the night and darkness force you to be honest with yourself.

Ró is an Icelandic word which has its origins in Old Norse and translates as ‘calm’ or ‘stillness’. In her preface to the score, Thorvaldsdottir writes to the performers:

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In SUITE I have worked with shadows and distortion. Material is placed in registers on the different instruments so they sound similar and become a sort of doppelgänger of each other. To create an atmosphere of longing and suspense the material evolve very slowly, but persistently, and the musicians are also forced to play in uncomfortable registers for a long time. In some places the music is almost only a shadow of itself and only pitchless rhythmic structures are visible, like a ghost of something that once was.

In SUITE I have worked with shadows and distortion. Material is placed in registers on the different instruments so they sound similar and become a sort of doppelgänger of each other. To create an atmosphere of longing and suspense the material evolve very slowly, but persistently, and the musicians are also forced to play in uncomfortable registers for a long time. In some places the music is almost only a shadow of itself and only pitchless rhythm structures are visible, like a ghost of something that once was.

Foto: Saga Sigurdadottir

Program: Frej Wedlund Plasticity: string quartet (np) Anna Thorvaldsdottir RĂł (np) Allan Gravgaard Madsen SUITE (np)

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15.11.

Talk: Music and the postcolonial

Related to these concerts: Hinterland Archives, Civilization Erik DĂŚhlin om Hinterland Archives. I samtale med Hild Borchgrevink. Erik DĂŚhlin on Hinterland Archives. In conversation with Hild Borchgrevink.

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Foto: Knut Olav Sunde

Foto: Paal Audestad

14:00 | Stormen Bibliotek, litteratursalen | Free entry


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Can music be true? In one sense, every work of art that exists is true, isn’t it? If we define music as a means to find the truth about anything – let’s say life, love, or the possibilities of a certain harmonic language – it might make more sense to speak about the degrees of skill, honesty, genuineness, etc., instead. Personally, trying to and sometimes succeeding in writing music that functions in a satisfactory way is pretty much it. Doing one’s best (however cliched that might be), and hoping to communicate with the listener – can there be anything truer than that?

Olli Kortekangas

Foto: Saara Vuorjoki/Music Finland


Foto: Red Star Esbjerg

15.11.

MYSTERIES OF COMMUNICATION 16:00 | Stormen Konserthus, lille sal | Kr 225 / 100 Musical, verbal and gestural communication with Esbjerg Ensemble! Musikalsk, verbal og gestisk kommunikasjon! Brå overganger fra komponering til å nynne vuggeviser, talespråk forsøkt transformert over i strykekvartett, musikalsk dramatikk, tidslek med tyngdekraften i musikken, danserytmer fra tidligere og nåværende århundrer og kroppen som instrument i seg selv.

from composing to humming a lullaby. At some point this condition became an impulse for this duo.

Musical, verbal and gestural communication! Abrupt transitions from composing to humming lullabies, attempted transformation of spoken language into string quartet, musical drama, time play with gravity in music, dance rhythms from past and present centuries, and the body as an instrument in itself.

The Fourth String Quartet by Kimmo Hakola was inspired above all by magnificent musicianship: it is dedicated to the Meta4 Quartet, whose performances of his first quartet have in recent years made an indelible impact on his empirical world. The fourth quartet is the floundering, playful, if necessarily, defiantly dramatic, surprising, capricious and unrestrained tour de force of a youthful entity.

Spoken Music, by Loïc Destremau is all about speech. Speech as a means of expression – speech about speech and thus also about and exposing the sonorous aspects - until they become the expression themselves – a string quartet as a means of expression.

Hush was composed when Minna Leinonen’s youngest child was born. Descriptive of her working process at that time was sudden interruptions: abrupt changes

Time Epoché by Steinar Yggeseth is inspired of how the time transforms our perception of the elements

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and how our listening switches between separate components and the entirety. In this piece several independent creatures appear, from the softest, almost inaudible, to the more intensive sounds, different harmonies and noises, passages and tiny time structures, striving towards the surface that manifests their existence – their reality. Subsequent layers are juxtaposed, in front of and shadowing each other, and as one observes and colours the other, they start interacting with the temporal gravity, thus creating the whole body of what we hear, interconnected through an infinite reciprocal web of time and being.

rhythms appear in diverse variations, forming a rhythmic texture with varying degrees of density, partly through polyphonic superpositions. In combination with instrumental noises, a musical form emerges that consists of three more animated, and two contrasting, calmer sections (A B A’ C A”). Ansgar Beste associates the sounding result with a traditional masked ball including all its imagination, sensuality and informality on the one hand, and all its secretiveness and obscurity on the other. Mistérios do Corpo by Kristine Tjøgersen was written for the Arditti Quartet as a tribute to Brazilian jazz composer and multi-instrumentalist Hermeto Pascoal, who has made a piece by the same name, where he literally plays on his own body.

The work Mascarade Obscure was inspired by dance rhythms of popular music from nowadays and centuries gone by. Through means like augmentation/ diminution, permutation and modulation, these dance

Program: Minna Leinonen Hush (np) Loïc Destremau Spoken Music (np) Kimmo Hakola String Quartet No. 4, Op. 95 (np) Steinar Yggeseth Time Epoché (np)

Foto: Red Star Esbjerg

Ansgar Beste Mascarade Obscure (np) Kristine Tjøgersen Mistérios do Corpo

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Foto: Caroline Bittencourt

15.11.

TRIANGULAR MASS 18:30 | Stormen Konserthus, foajé | Free entry A piece for 50 triangles by Niels Lyhne Løkkegaard. Elever fra musikklinjen på Bodø videregående skole fremfører Triangular Mass sammen med komponisten. Triangular Mass er et verk for 50 triangler. Ensemblet spiller triangler i ulike størrelser, og skaper en krystallisk og prismeaktig lyd. Lyden av den enkelte triangel og den enkelte utøver oppløses og lyden gjenoppstår uberørt i en ny kollektiv form.

Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to loose the ability to distinguish the words from one another. Now, instead of hearing the individual conversations, melt all the conversations together, and transform them into one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature-given sound, of people. Once the language is dissolved and the words stop making sense, what is left is the sound. Clean, free of meaning and open to all ears.

Students from musikklinjen at Bodø videregående skole perform Triangular Mass together with the composer. Triangular Mass is a piece for 50 triangles. The ensemble is playing triangles of different sizes, creating a crystalline, prism-like sound. The sound of the individual triangle and the individual player is dissolved, and the sound reappears untouched in a new, collective form.

Niels Lyhne Løkkegaard

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Foto: Soffi Chanchira Larsen

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I certainly think that music can have integrity. I sometimes get this icky feeling, when I listen to something and I think “this music wants me to be sad now”, and I don’t think the music is sad. I feel the integrity, when the music is just there, and I get to have my own feelings. But I can’t explain exactly why or when music is this way – most likely it is just my subjective feeling. I try not to have an agenda about how the music should make the audience feel, only about what I want to say.

Mette Nielsen 57


Foto: Christina Undrum

15.11.

STORMEN 5 YEARS 19:00 | Stormen Konserthus, store sal | Kr 380 / 345 / 100 Trondheim Voices, Ola Kvernberg and The Arctic Philharmonic Chamber Orchestra. Stormen konserthus fyller 5 år! Som 5-åringer flest er Stormen passe trassig, med et godt hjerte – og full av fart og energi. Vi gratulerer med dagen og er glade for å være med på feiringen! Stormen Konserthus har blitt relevant for en stadig større del av befolkningen. Sjangerbredden er stor, fasilitetene fantastiske.

behage eller ryste, i gjenkjennelse eller provokasjon. Helt nøytralt eller kjedelig blir det aldri. Stemmens musikk går rett i sjela. Lyden av en stemme oppleves som noe som angår oss og berører oss på det personlige planet. Med det følger ofte en overdreven fokus på det private hos den som formidler. En tidsriktig hedersbetegnelse er ”dønn ærlig”. Mer når er vokalisten ærlig? Selv om mange vil være samstemte i en musikkopplevelse, blir din tolkning alltid unik, basert på din egen bagasje. Og selv om en sanger prøver å formidle en bestemt emosjon, selvopplevd eller ei, vil møte med publikum uansett alltid være en iscenesettelse. En vokalist eller stemmekunstner vet dette veldig godt, og kan også med vilje føre deg fullstendig bak lyset. Men blir musikken mindre ekte av den grunn? Å bruke stemmen som redskap i musikk er en uhyre kompleks affære. Det å finne stemmen sin, bokstavelig talt, er av natur annerledes enn å øve på et konvensjonelt instrument. Dessuten, stemmeutøvere må forholde seg til sangerrollen på godt og vondt. Det

Stormen Concert Hall celebrates 5 years! Like most 5-year-olds, Stormen is suitably defiant, with a good heart – and full of speed and energy. We are happy to join in the celebration! Stormen has become relevant for a growing part of the population. The range of genres is wide, and the facilities fantastic. Ekkokammer: Stemmen er i en særklasse som instrument, uløselig knyttet til kroppen. Alle har en stemme som kan deles og fortolkes blant alle som hører. En stemme kan

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ligger mye forventninger til det å være sanger. Noe av det jeg prøver å finne ut av med verket Ekkokammer er: Hvorfor er det, for noen, ikke nok å bare stå rett opp og ned og synge pent eller flinkt? Hva ligger det av potensiale – musikalsk eller personlig – i å utfordre konvensjonene, eller deg selv?

terviewed the singers in the ensemble privately about finding their voice, the singer’s role, and what it means to have a voice, metaphorically as well as physically. What do you wish to express with your voice? Isn’t it enough to just sing nicely and win popularity? The singers’ own answers to these questions, combined with their own experiences around finding their voice, through childhood memories until today, is staged in peculiar ways in the piece. All spoken text is taken from exact transcriptions of the taped conversations with Ratkje, but is spread among the singers in the finished piece, so the true author of a spoken line is never exposed; you’ll never know if the actor is also the originator of the line. The transcripted lines are exactly written as originally spoken, with mistakes, with hesitancy, in their own dialect. This gives sometimes an odd distance to the text when performed, and also questions another topic regarding the singer’s role: authenticity. Is a singer’s statement more emotionally valid if it’s real? What is real? When it’s staged, it’s never “real”, even though it’s based on authentic experience - but what’s real for the audience, for their own reflection, is as real as it gets: it’s here, in the meeting with the audience, that art can be of great value and touch reality in ways that you haven’t thought of before.

Ekkokammer handler om hva det vil si å være sanger, og verket stiller spørsmål til det å fysisk ha en stemme og hva vi ønsker å uttrykke med den. Verket vil belyse valgene og opplevelsene som former profesjonelle og høyst personlige stemmer, slike som i Trondheim Voices. Hele konsert-forestillingen er laget på grunnlag av sangernes egne erfaringer. Alle replikker er transkripsjoner fra intervjuer gjort med sangere i ensemblet, helt intakt og nøyaktig slik de sa det på tomannshånd. Men i den ferdige iscenesettelsen deles replikkene og opplevelsene av hele ensemblet, du får ikke vite hvem som opprinnelig har sagt hva. Det er heller ikke viktig å vite. Konsept, regi, manus og komposisjon: Maja Solveig Kjelstrup Ratkje Since 2014, Ratkje has been collaborating with the avant-garde vocal ensemble Trondheim Voices to create a work in progress called Ekkokammer (Echo Chamber). This has resulted in two editions so far, Ekkokammer 1.0 and Ekkokammer 2.0. Ratkje has in-

Concept, direction, script and composition: Maja Solveig Kjelstrup Ratkje

Foto: Christina Undrum

Foto: Christina Undrum

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Mechanical Fair: Stormenprofil 2019, Ola Kvernberg, er en av landets mest aktuelle musikere. I løpet av 2019 har han presentert tre musikalske prosjekt som til sammen viser hans enorme allsidighet som komponist og musiker, og nå har vi kommet til finalen! Opplev det storslåtte verket Mechanical Fair i utvidet versjon for Arktisk Filharmoni og Kvernbergs eget band. En magisk kveld i The Mechanical Fair’s rike: Restorativt, lyrisk og balsam for sjelen.

Stormen profile 2019, Ola Kvernberg, is one of the country’s most relevant, current musicians. During 2019, he presented three musical projects that together show his enormous versatility as a composer and musician, and now we have reached the finale! Experience the magnificent work Mechanical Fair in the extended version for Arctic Philharmonic and Kvernberg’s own band. A magical evening in The Mechanical Fair’s realm: restorative, lyrical, and a balm for the soul.

Ola Kvernberg har uvanlig raskt gått gradene fra bråmodent talent til fullblods komponist og orkesterleder. Mechanical Fair var Kvernbergs takk for prisen-konsert på Kongsberg i 2013, og i utgangspunktet skrevet for kvintett. Trondheimsolistene meldte seg på, og verket ekspanderte og ble et uvanlig velintegrert og lykkelig ekteskap mellom jazz og kammerorkester.

Ola Kvernberg has, unusually quickly, gained the ranks from a passionate talent to a thoroughbred composer and orchestra leader. Mechanical Fair was Kvernberg’s “thanks for the award” concert at Kongsberg Jazz festival in 2013, and was originally written for quintet. The Trondheim soloists signed up, and the work expanded and became an unusually well-integrated and happy marriage between jazz and chamber orchestra.

Ola Kvernberg band: Ola Kvernberg: violin, viola, mandolin, perc, vocal Erik Nylander: drums, drum machine, perc Ole Morten Vågan: contrabass Even Helte Hermansen: guitars Petter Vågan: guitars, vocal Kirsti Huke: vocal, perc, auto harp, effects Anja Lauvdal: piano, harmonium, vocal Eirik Hegdal: baryton-, tenor- and sopraninosax Tor Breivik: sound Pekka Stokke: visual design Foto: André Løyning

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Foto: André Løyning


15.11.

Talk: Robots and music

Foto: Tine Surel Lange

21:00 | Stormen Konserthus, foajé | Free entry

Related to this concerts: Robotic Stories Fredrik Gran og Øyvind Alvsvåg om roboter og musikk. Moderator: Gyrid Nordal Kaldestad Fredrik Gran and Øyvind Alvsvåg on robots and music. Moderator: Gyrid Nordal Kaldestad

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Foto: Emile Ashley

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The most crucial factor for creating music that can be perceived as relevant is sincerity. Starting with oneself, of course. And yes, it is actually possible to lie in music. It is possible both to fool oneself and to consciously seduce large groups of people, as we know. So the freedom and apparent independence of music as an expression can be a camouflage. It is not always obvious whether music is true or not. Therefore, in music more than any other arts, there must always be a quest for truth.

Nils Henrik Asheim


15.11.

ROBOTIC STORIES 22:00 | Stormen Konserthus, lille sal og Sinus | Kr 225 / 100 A magical interaction between acoustic and electronic sounds and a lighting installation! En robot som solist i Lille sal. Det nordnordiske landskapet gjennom foto, video, lydopptak av akustiske, elektromagnetiske, geofysiske og antropologiske fenomener. Samspill mellom akustiske og elektroniske lyder og en lysinstallasjon!

as well as the possibility to recreate, relocate and modify these sonorities. In addition to the directional frontal capture, the microphone also occasionally amplifies the low frequencies coming from the robot’s motors, creating a second voice in counterpoint to the feedback line.

A robot as the soloist in Lille sal. The Northern Nordic landscape through photo, video, and sound recordings of acoustic, electromagnetic, geophysical and anthropological phenomena. Interaction between acoustic and electronic sounds, and a lighting installation!

Sák vitt ok vitt of verold hverja, by Marinos Koutsomichalis, is a hybrid performance pivoting on a multi-level exploration of the North Nordic landscape and the artist’s own personal (un)makings of, and creative responses to, it - in terms of photography, video/audio recordings of various acoustic, electromagnetic, geophysical, and anthropological phenomena; text, stones, seafood, and scientific sonification/ visualization of data concerning energy consumption, weather patterns, seismic activity, fish migration, and spatial distribution of marine populations. Sāk vitt ok vītt of verold hverja has been produced in the context of the Stories of Flights, Ferries and Fish (nustories)

In Here in my arms by Fredrik Gran, an industrial robotic arm surrounded by monitors operates a highly directional microphone, creating dynamic feedback and a weightless choreography. The robot’s accuracy in timing and positioning allows for detailed control of the feedback behavior and its transformations,

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project, with generous support from the Nordic Council, the Nordic Culture Fund, and a series of local organizations.

in interaction with the space and spatial properties. Subtle nuances alter the surface characteristics and boundaries of the objects, evoking a sensuous and tangible experience. The music is in counterpoint with a light installation which interacts with the sounds and musical textures. The lights are used as a musical instrument, reacting to or bringing forth nuances and sonic details, and highlighting non-obvious sonic attributes, engaging in a dialogue with the duo’s timbral improvisations. The light is explored in its sonic potential as the installation becomes the third member of the improvisatory ensemble.

Athroa (for piano, electronics and light installation) is a composition that explores the materiality of sound in relation to our spatiotemporal perceptive mechanisms. The materiality of sonic events is explored through the process of sculpting sound objects, dynamically changing through interaction and improvisation. Electronic and acoustic instruments co-create imaginary sound formations, whose textures, surface fluctuations, edges, grooves and other deformations are shaped

Program: Lille sal: Fredrik Gran Here in my arms (np) Sinus: Marinos Koutsomichalis Såk vitt ok vitt of verold hverja (np) Zoe Efstathiou (Prepared piano, electronics, composition) Egil Kalman (Modular synthesizer, contrabass, composition) Athroa (np)

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16.11.

Listen! Contemporary hits with visuals

Foto: Fredric Boudin

Foto: Sylvia Steinhäuser

11:00 | Stormen Bibliotek, litteratursalen | Free entry

Zoe Efstathiou og Kristine Tjøgersen spiller sine favoritter innen flermediale verk. Zoe Efstathiou and Kristine Tjøgersen play musical favourites with visuals.

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"

No person is an island. There is no idea without inspiration. All are interconnected, a part of the whole, and just as art could not exist without life, life can not exist without art. You have to be truthful to yourself - then we can say there is a truth in art. That raises another question: Does art imitate life? Yes, however, it is the art of life, which makes life comprehensible. The artist looks into, around, and towards life, and life as music is unpredictable and contradictive, which makes it interesting. I think the truth in art is the capacity to enhance the current situation for better through widening the space of the imagination of people.

Foto: Mehdi Bemani

Farangis Nurulla-Khoja

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16.11.

NORDIC KIDS HUB / NORDISK FAMILIEDAG 11:00–15:00 | Stormen Bibliotek | Free entry Here is something for babies, something for teenagers – and most of it well-suited for all curious souls. På festivalens siste dag arrangerer vi familiedag i Stormen Bibliotek, med et innholdsrikt og variert program. Her er noe tilpasset babyer, annet passer for tenåringer - og mye passer for alle nysgjerrige sjeler.

hjem, gjennom universelle undertema som ensomhet/ fellesskap, likhet/ulikhet, synlighet/ usynlighet, fare/ trygghet og håp/håpløshet. VELKOMMEN:HJEM is an installation for audience 10 years and up. It has the form of a tent village, in which the audience can explore and reflect. It has multichannel sound in the form of sounding sensor-objects/games and small speakers. Through sound, music, visual and sensory impressions, the installation deals with different questions about the concept of home. What is it to have a home? Does the home feel real? Do you feel welcome? How does one deal with the impermanence – or loss – of a home? The installation includes recordings of real people’s stories about what home means to them, individual people’s very different truths about for instance what staying in a tent means.

On the last day of the festival we arrange a family day in the Stormen Library, with a rich and varied program. Here you will find something for babies, others suitable for teenagers - and most of it suitable for all curious souls. VELKOMMEN:HJEM er en interaktiv vandreinstallasjon som passer for publikum fra 10 år og oppover. Installasjonen består av flere telt, som inneholder sensorer og lyd fra høyttalere, og barna får gå inn i teltene og oppleve og utforske de enkelte stasjonene. Gjennom musikk, bilder, følelser og sanseinntrykk ønsker vi fortelle noe om hva det vil si å ha et hjem og hvordan man påvirkes av å ikke lenger ha et

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Baby Sauna er en danseforestilling for 0–1 år gamle babyer og deres familier. BabySauna tar deg til den originale finske badstuens verden og dens magiske lyder, dufter, rytmer og farger. BabySauna tar publikum med på en fantastisk reise gjennom tåkete skoger og inn i badstuen, finnenes hellige rom. Små brummelyder, dampens hvesing, knitring av ild, vannsprut og dyp pust utvikler seg til rytmer og musikk. Lek med småstein, vannbøtter og håndklær, i tillegg til gleden av å vaske opp og tørke, er med på å lage dansen. Til slutt, etter avsluttende vuggesang, får publikum være med å vaske på scenen. BabySauna er basert på bevegelse, lyd og kinestetisk stimuli. Forestillingen er uten språk og varer 30 min.

Program: VELKOMMEN:HJEM (kl. 11–13, 14–15) Gunhild Seim Terese Arildsdatter Riis Dag Egil Njaa Mathrix (kl. 11–15) Håkan Lidbo Baby Sauna (np) (12 og14) Konsept, koreografi og utøver: Riikka Siirala Konsept og regi: Antti Larmola Lyddesign og musikk: Suvi Isotalo Kostymedesign og produksjon: Saija Siekkinen Scenedesign og teknisk produksjon: Sampo Pyhälä Produksjon: Loiske Ensemble og OSIRIS teatteri Tekstiler: Lapuan Kankurit.

Baby Sauna is a dance performance for 0–1 year old babies and their families. BabySauna takes you to the world of the original Finnish sauna and its magical sounds, scents, rhythms and colors. BabySauna takes the spectators on a fantastic journey, through misty forests and into the sauna, the sacred place for Finns. The little hums, hissing sounds of steam, crackles of fire, water splashes and deep breathing evolve to rhythms and music. The play with pebbles, water buckets and towels, as well as the pleasure of washing up and drying, they all create the dance. The performer is in contact with the spectators’ reactions and finally, after the finishing lullaby, the audience is led to the stage for a wash. BabySauna is based on movement, sound and kinesthetic stimulations. There are no language or cultural barriers. Recommended age: 0–1 year. Length: 30 min.

Inn i lyden - bak musikken (kl. 11–13, 14–15) Lars Kynde Nikolay Kynde Den Nordiske Sangskatten - kom og syng! (kl. 13) Musikere fra Arktisk Filharmoni og Bodø Rythm group. Kapellmester Øystein Jæger Barnekor: Kor fra Saltstraumen menighet, Colours POPrommet-koret, Domkirkens Sangskoles Aspirantkor 2 og Domkirkens Sangskoles Guttekor

Musikopfinderværkstedet, med Lars Kynde, Nikolaj Kynde. Musikkoppfinnerverkstedet er et reisende laboratorium som undersøker, designer og bygger nye instrumenter. Denne gangen er fokuset på strenger: Resonansstrenger, marionettstrenger, komposisjonsstrenger, strenger som symbol og strenger som konkrete fysiske klangskapere. Verkstedet kommer til å se nærmere på overtoner, klang og akustikk. Publikum bygger sine egne instrumenter og mens deltagerne undersøker instrumentene skaper alle sammen en musikalsk visuell klangforestilling.

Sound Waves of Inner and Outer Territories (kl. 10–16) Charlotte Piene NS-12 (kl. 10–16) Konrad Korabiewski Kristjan Loðmfjorð Youth Truth (kl. 11–15)

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talk among adults. Part of the answer to its success lies in the sense of community that song provides, as well as the exuberant joy and playfulness that permeates the program series. This is a concert that will send you home singing, where you may find yourself looking for the old songbook and planing a family choir.

The Music Inventor’s Workshop, with Lars and Nikolay Kynde. Musikkoppfinnerverkstedet (The Music Inventor’s Workshop) is a traveling laboratory that researches, designs and builds new instruments. This time the focus is on strings: resonance strings, puppet strings, composition strings, strings as a symbol and strings as concrete physical sound makers. The workshop takes a closer look at overtones, sounds and acoustics. The audience builds their own instruments, and while the participants explore the instruments, they all create a musical-visual sound performance.

Youth Truth? Elever fra musikklinjene på Sortland, Mosjøen og Bodø videregående skoler har i samarbeid med Nordic Music Days og DKS blitt utfordret på temaet Sannhet? Hvem eier sannheten og hvem eier historien? Går det an å diskutere om musikken er sann? Min historie er like sann som din - men den blir aldri den samme historien. Vi har forsøkt å se på viktigheten av å fortelle flere sider og slippe til mange stemmer. Alle eier sin egen sannhet. Resultatet vises som en samling lyd og videoverk. Instruktører: Leif Haglund og Bjarne Kvinnsland.

Den Nordiske Sangskatten, kom og syng! Synger dere fortsatt de gamle barnesangene? Kan nordiske unger i dag de samme sangene som deres besteforeldre lærte da de var barn? Det er ikke uten grunn at NRK Supers «Sangfoni» er blitt en suksess. Ta en slitesterk barnesang, pakk den inn på nytt og la ungene leke med den. Det er ikke mange barneprogrammer som klarer å fenge både null- og nittiåringer og samtidig bli en snakkis blant voksne. Noe av svaret på suksessen ligger i den gode følelsen av fellesskap sang gir, i tillegg til sprudlende glede og lekenhet som gjennomsyrer programserien. Dette er konserten som sender deg syngende hjem, der du straks leter fram den gamle sangboka og planlegger familiekor.

Youth Truth? Students from the music lines at Sortland, Mosjøen, and Bodø High School have been challenged on the theme Truth in collaboration with Nordic Music Days and DKS. Who owns the truth and who owns the story? Is it possible to discuss whether the music is true? My story is as true as yours - but it’s never the same story. We have tried to look at the importance of telling things from many sides and letting many voices through. Everyone owns their own truth. The result is displayed as a collection of audio and video works. Instructors: Leif Haglund and Bjarne Kvinnsland. Sound Waves of Inner and Outer Territories, p. 42 NS-12, p. 43 Mathrix p. 30

The Nordic Song Treasure, come sing! Still sing the old children’s songs? Can Nordic kids today learn the same songs that their grandparents learned when they were children? It is not without reason that NRK Super’s “Sangfoni” has become a success. Take a durable children’s song, rewrap it and let the kids play with it. There are not many children’s programs that manage to catch both zero and ninetyyear-olds, and at the same time become water cooler

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16.11.

I HEARD THE SOUND OF THEIR WINGS 13:00 | Bodø Domkirke | Free entry Fresh Nordic organ music performed by Gro Bergrabb 3 Organ Chorales - In Memoriam Kjartan Hoydal was composed by Sunleif Rasmussen in 2016, based on melodies by Jógvan Waagstein. As with all Rasmussens music, the titles of these three ‘chorales’ (perhaps better described as fantasias) – Breaking Waves, Flying Storm and Summer Morning – suggest a strong connection with the landscape of his native Faeroe Islands. Spectral harmonies combine with rushing manual figurations to create exciting, virtuosic, music that is satisfyingly characterful.

feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on his heads. His tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that he might devour her child the moment it was born. 2. She gave birth to a son, a male child, who will rule all the nations with an iron sceptre. And her child was snatched up to God and to his throne. The woman fled into the desert to a place prepared for her by God, where she might be taken care of for 1,260 days. And there was war in heaven. Michael and his angels fought against the dragon, and the dragon and his angels fought back. But he was not strong enough, and they lost their place in heaven. The great dragon was hurled down – that ancient serpent called the

The Icelandic organist, Lára Bryndís Eggertsdóttir commissioned 7 pieces from Icelandic composers. The composers should use texts from the Bible as inspiration for the pieces. Hildigunnar Runarsdottir got to choose a text so she had the 12. verse from the Book of Revelations about the Woman and the Dragon. 1. A great and wondrous sign appeared in heaven: a woman clothed with the sun, with the moon under her

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devil, or Satan, who leads the whole world astray. He was hurled to the earth, and his angels with him. 3. When the dragon saw that he had been hurled to the earth, he pursued the woman who had given birth to the male child. The woman was given the two wings of a great eagle, so that she might fly to the place prepared for her in the desert, where she would be taken care of for a time, times and half a time, out of the serpent’s reach. Then from his mouth the serpent spewed water like a river, to overtake the woman and sweep her away with the torrent. But the earth helped the woman by opening its mouth and swallowing the river that the dragon had spewed out of his mouth. Then the dragon was enraged at the woman and went off to make war against the rest of her offspring.

Program: Sunleif Rasmussen 3 Organ Chorales Chorale 1: Breaking waves Chorale 2: Flying storm Chorale 3: Summer mornin Hildigunnar Runarsdottir Konan og drekinn/Kvinnen og dragen Hjálprædid/Frelsen og magten Englar Mikaels/Mikaels engle

Foto: Rune Nilsen

Trond Kverno Triptychon 2: Tre ikoner fra «Draumkvedet» Olaf Asteson Sæle gullmor mi Sankte sale Mikkjel

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16.11.

Talk: Music and truth 14:00 | Stormen Bibliotek, litteratursalen | Free entry

Related to this concerts: Sad Truth Tine Surell Lange og Leif Haglund om musikk og sannhet. Moderator: Hild Borchgrevink Tine Surell Lange and Leif Haglund on music and truth. Moderator: Hild Borchgrevink

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Foto: KarolĂ­na Thorarensen

"

I think music is freer or at least not speaking as loud and clear as other art forms. My music is in any case fairly abstract. A message that can be put into words is elusive in my music.

Haukur TĂłmasson


16.11.

SAD TRUTH 15:00 | Stormen Konserthus, lille sal | Kr 225 / 100 Works by Gyrid Kaldestad, Tine Surel Lange, Håvard Lund, Leif Haglund, Espen Tversland and David Rothenberg. I vår sendte vi seks nordiske kunstnere til den vesle øya Fleinvær. Her samlet de lyder, bilder, filmer, inntrykk og fellesskap under overskriften Sad Truth.

og gode nok verktøy til å ta grep – hvis vi bare vil det nok. Når ordene i samfunnsdebatten er brukt opp, åpner det kanskje et rom for kunsten og musikken som meningsytring.

This spring, the project Sad Truth was born. Six artists were gathered for a week on the small island of Fleinvær, outside Bodø. They collected sounds, pictures, films and togetherness, and collaborated on digital artworks.

Human beings are perhaps the first beings on Earth who can and must make a choice about whether to live in equilibrium with nature as a whole, or take care of its diversity. Why then do we choose not to do that which is obviously correct and important? We are the first generation to have both the knowledge and tools to take action - if we had the will. So, when the words that form the social debate are drained of their power, perhaps a space opens up for art and music to meaningfully contribute.

Menneskene er intellektuelt rustet til å velge å leve i likevekt med naturen og til å vise omsorg for naturens mangfold. Hvorfor velger vi likevel å ikke gjøre det som åpenbart fremstår som det viktigste og riktigste? Vi er den første generasjonen som har nok kunnskap

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16.11.

Talk: Contemporary Medea and Lysistrate

Foto: Red Star Esbjerg

18:00 | Stormen Bibliotek, foajĂŠ | Free entry

Related to this concerts: Moments of Truth Steingrimur Rohloff og Katrine Ganer Skaug med et moderne blikk pĂĽ Medea og Lysistrata Moderator: Hege Dypedokk Johnsen Steingrimur Rohloff and Katrine Ganer Skaug on Contemporary Medea and Lysistrate Moderator: Hege Dypedokk Johnsen

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"

A composer writes music how they hear it, what is true to themselves. Music expresses a composer’s inner impulses, which are inevitably influenced by the reality surrounding them. I think music imitates the truth seen from an individual perspective, and also expresses cultural subconsciousness. Oscar Wilde thought that life imitates art even more than art imitates life. Art not only represents reality, but also creates it: because of an experience of art things may become more intense and meaningful. Every artist has their own tools for this reflection.

Minna Leinonen

Foto: Heikki Tuuli


Foto: Red Star Esbjerg

16.11.

MOMENTS OF TRUTH 19:00 | Stormen Konserthus, store sal | Kr 290 / 240 / 100 Esbjerg Ensemble and Francine Vis: Nordic Music Days ends the festival in Bodø with two world premieres! Nordic Music Days avslutter festivalen i Bodø med to premierer! Vi setter idealisten Lysistrate mot den destruktive Medea, og lar musikalske, psykologiske og kulturelle motsetninger utforskes gjennom de to mytiske kvinnelige karakterene.

unfolding in real time. The appearance of sway, the emerging of new growth. Steingrimur Rohloff counts himself lucky for having an on-going collaboration with one of Denmark’s greatest poets. It started in 2011 when Peter Laugesen, Rohloff and 3 other Nordic composers (Malin Bång, Henrik Hellstenius, Nicolai Worsaae) made a chamber opera about Medea. Later, Rohloff composed a song cycle on some of the poems for the Danish Figura Ensemble and the Seattle Chamber Players. Finally the opera Lysistrate, with Laugesen as a librettist, was premiered in the Funen Opera in Odense with Tuva Semmingsen in the title role in 2016. We hear excerpts from it today.

Nordic Music Days ends the festival in Bodø with two premieres! We set the idealist Lysistrate against the destructive Medea, and let musical, psychological and cultural antagonisms be explored through the two mythical female characters. Moments of Truth by Martin Ødegaard is written for the 10 musicians in Esbjerg ensemble. World Premiere!

For a CD project with the Esbjerg Ensemble, the idea was born to revisit the theme of Medea. We are moving chronologically from the tragedy of Medea with Peter Laugesen’s archaic language to that of Lys-

Bergrún Snæbjørnsdóttir about Areolae Undant: A conduit; an entity channels and relays a connection

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istrate. With the war in Syria in mind, this comedy was transformed into a tragedy. Lysistrate fights against the drums of war, but in vain. More than 2000 years have passed since these greek stories were first told. They are unfortunately still very relevant today.

Program: Martin Ødegaard Moments of Truth (wp) Bergrún Snæbjørnsdóttir Areolae Undant (np) Steingrimur Rohloff 5 songs from the opera Lysistrata Medea (wp)

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Artists 200 performances and concerts each year, with the orchestra’s musicians alternating between different ensemble formats on a regular basis. The structure of the orchestra is unique and innovative – both in Norway and in the rest of the world. It is located in two arctic cites, Bodø and Tromsø, and can claim with the whole northern region, including Sápmi, as its arena. Arctic Philharmonic Sinfonietta’s permanent musicians in Bodø comprise a Sinfonietta core of 15 musicians. Artistic director is Tim Weiss. Arctic Philharmonic Chamber Orchestra Consists of 21 permanent musicians in Tromsø. Their artistic director is Henning Kraggerud.

Arktisk Filharmoni Et godt stykke nord for polarsirkelen finner du verdens yngste og nordligste profesjonelle orkesterinstitusjon Arktisk Filharmoni (Arctic Philharmonic). Siden opprettelsen i 2009 har organisasjonen blitt en av NordNorges største og mest aktive kulturinstitusjoner. Hvert år setter orkesteret opp omtrent 200 forestillinger og konserter. Orkesterets musikere veksler mellom ulike ensembleformater på fast basis. Orkesteret spiller fast i sine to byer Bodø og Tromsø, men har nordområdene og Sápmi som hjemmebane. Arktisk Filharmoni har en fleksibel struktur, noe som betyr at du i løpet av en sesong kan oppleve alt fra mindre kammergrupper via sinfonietta og kammerorkester til fullt symfoniorkester og operaproduksjoner. I tillegg opptrer musikerne i mindre sammensetninger, en duo, en kvintett, eller i samarbeid med andre musikkformer og andre musikere.

Berit Norbakken Solset Berit Norbakken Solset tilhører eliten blant våre sopraner, og er en ettertraktet solist i oratorier, pasjoner og messer. Som konsertsanger har hun holdt konserter over hele Skandinavia, Europa og i byer som Tokyo og Sidney. Hun opptrer jevnlig med Bjarte Eike og barokkens solister i en rekke forskjellige konserter og innspillinger. Hun har de siste årene også sunget opera med stor suksess, senest i en scenisk nyproduksjon av Bachs Johannespasjon ved Theatro Arriaga/Bilbao, regi Calixto Bieito. Hennes seneste innspilling av J. C. Arriagas vokalmusikk med Juanjo Mena og BBC Philharmonic, har høstet strålende kritikker internasjonalt. Sist mai var hun solist i Bachs Matteuspasjon under May Festival Cincinatti, ledet av Mena. Hun er stadig solist med ledende orkester og dirigenter og i de største konserthus, som Sydney Op-

Arktisk Filharmonis sinfoniettas fast ansatte musikere i Bodø utgjør en sinfonietta-besetning på 15 musikere. Kunstnerisk leder er Tim Weiss. Arktisk Filharmonis kammerorkester består av 21 ansatte musikere i Tromsø. Kunstnerisk leder er Henning Kraggerud.

Arctic Philharmonic Well above the Arctic Circle, you will discover the world’s northernmost professional orchestral institution – the Arctic Philharmonic. Since our founding in 2009, the Arctic Philharmonic has become one of Northern Norway’s largest and most active cultural institutions. The orchestra presents somewhere around

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era House, Tokyo Opera City Hall og dirigenter som Francois Leleux, Mikhail Pletnev, Robert King, Daniel Reuss, Erik Nielsen, Andreas Spering, Olof Boman og Ottavio Dantone.

både regionalt og nasjonalt. Bodø Domkor ble stiftet 7. oktober 1954, og har siden den gang fremført kormusikk med stor bredde. Det er to viktige områder som trer frem som sentrale for Domkorets identitet. Det ene området er fremføring av større kirkemusikkverker, som for eksempel Händels Messias, Bachs Juleoratorium, Verdis requiem og messer av Haydn og Mozart. Det andre er knyttet til formidling av den norske kulturarv, med særlig vekt på nordnorsk sang og musikk. Domkoret ser det som en viktig oppgave å presentere kirkemusikk fra sin egen region, både i konsert- og gudstjenestesammenheng. Dette har blant annet ført til flere CD-innspillinger med religiøse folketoner i ny drakt, i tillegg til jevnlige konsertturnéer i inn- og utland. Kunstnerisk leder er domkantor Gro Bergrabb

Berit Norbakken Solset is one of the most sought-after sopranos in Scandinavia. As a concert-singer she has given concerts all over Scandinavia, Europe and in cities such a Tokyo and Sydney. She appears regularly with Bjarte Eike and the Baroque Soloists in a number of different concerts and recordings. Berit Norbakken Solset made her operatic debut in Ophelias – Death by Water Singing, by Henrik Hellstenius. Her opera roles have included Abel in Il Primo Omicidio (Scarlatti), Adonis in Giardino d’Amore (Scarlatti), Ermione in Oreste (Handel), Susanna in Le nozze di Figaro (Mozart), Rosina in Il barbiere di Siviglia (Rossini), Belinda in Dido and Aeneas (Purcell), Sigrun in the world premiere of Malleus Maleficarum (Rasmussen) and an ensemble part in Melancholia (Haas). Solset’s versatility and flexibility of voice have allowed her to master a repertoire ranging from Baroque to contemporary, including folk music. She appears regularly in performances of oratorios, passions, and masses, and continues her work with leading ensembles, orchestras and conductors, such as Juanjo Mena, Daniel Reuss, Olof Boman, Benjamin Bayl, George Petrou, Erik Nielsen, Andreas Spering and Michael Pletnev, both in Scandinavia and throughout Europe.

Like all respectable cathedrals, Bodø Cathedral has its own choir. The choir forms a central part of an extensive church singing and music environment in Bodø Cathedral, an environment that has gradually become known both regionally and nationally. Bodø Domkor (Bodø Cathedral Choir) was founded on October 7, 1954, and has since performed choral music of great breadth. Looking back, however, there are two important areas that emerge as central to the choir’s identity. One area is the performance of major church music works, such as Handel’s Messiah, Bach’s Christmas Oratory, Verdis Requiem and masses by Haydn and Mozart. The other important area for Bodø Domkor is related to the dissemination of Norwegian cultural heritage, with special emphasis on Northern Norwegian songs and music. The choir sees it as an important task to present church music from our own region, both in concert and religious services. This has led to several CD recordings with religious folk tunes in new clothes, as well as regular concert tours at home and abroad. Artistic director of Bodø Domkor since 2019 is Dom Gro Bergrabb.

Bodø Domkor Som alle domkirker med respekt for seg selv har også Bodø Domkirke sitt eget domkor. Koret inngår som en sentral del av et omfattende kirkesang- og musikkmiljø i Bodø Domkirke, et miljø som etter hvert har blitt kjent

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for the ensemble.The nine (non-conductor) musicians also form several smaller formations within the group: Cikada String Quartet, Cikada RBK (clarinet, viola and piano) and Cikada Piano Trio operate as independent groups both at home and abroad. Cikada was awarded the prestigious Nordic Council Music Prize in 2005.

Cikada Siden starten i 1989 har Cikada etablert en rendyrket og velrenommert profil på den internasjonale samtidsmusikkscenen. Ensemblet har siden begynnelsen bestått av fløyte, klarinett, piano, perkusjon, strykekvintett og dirigent Christian Eggen. Alle ti medlemmer er likestilte, faste medlemmer. Ensemblet knyttes sterkt til den såkalte Oslo Sound med sine friske, energiske, varme og virtuose tolkninger av et bevisst utvalgt repertoar. Cikadas distinkte ensembleprofil uttrykkes gjennom en sterk programmering i konserter ved store internasjonale festivaler og i en rekke plateinnspillinger. I kjernen for dette arbeidet ligger ønsket om å utvikle langvarige samarbeid med komponister og over tid å bygge opp komponistportretter bestående av verker skrevet til ensemblet. De ni musikerne danner også flere mindre formasjoner: Cikada Strykekvartett, Cikada RBK (klarinett, bratsj og piano) og Cikada Pianotrio opererer som uavhengige grupper i både inn- og utland. Cikada ble tildelt den prestisjetunge Nordisk råds musikkpris i 2005.

Esbjerg Ensemble Esbjerg Ensemble fremfører klassisk kammermusikk med kompromissløs kvalitetssans, og er anerkjent for sin nyskapende og allsidige programmering. Ensemblet består av 10 temperaments- og uttrykksfulle musikere fra hele verden, alle spesielt utvalgt for sine unike egenskaper, fordelt som blåsekvintett, strykekvartett og slagverk. Ensemblet spiller hele den klassiske musikks kanon, men er i stor grad kjent for sin stilsikre fortolkning av moderne verk. Esbjerg Ensemble er derfor ofte det naturlige valg for nålevende komponister. Ensemblet har satt standarden for kammermusikk i Danmark og har hatt stor betydning for hele det kulturelle liv i regionen og på landsbasis. De fremfører ca. 80 konserter i året med allsidige programmer, inkludert skolekonserter, musikkteater, kammerkonserter, festivalsamarbeid i inn- og utland, workshops for unge komponister og mange andre prosjekter.

Cikada was founded in Oslo in 1989, and has from the very outset consisted of flute, clarinet, piano, percussion, string quintet and conductor Christian Eggen. As permanent members, the ten Cikada members have created a strong ensemble identity, and developed their highly acclaimed profile on the international contemporary music scene synonymous with the Oslo Sound of fresh, vibrant, warm and virtuosic interpretations of a consciously selected, contemporary repertoire. Cikada’s distinct ensemble profile manifests through strong programming in concerts at major international festivals and in a variety of recordings. At the heart of this work lies the desire to develop longterm collaborations with composers and, over time, to build composer portraits consisting of works written

Esbjerg Ensemble performs classical chamber music with an uncompromising sense of quality, and is recognized for its innovative and versatile programming. The ensemble currently consists of ten passionate, expressive musicians from the four corners of the globe, all specially selected for their unique qualities. The ensemble is made up of a wind quintet, a string quartet, and percussion.

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Esbjerg Ensemble plays the full spectrum of classical music, but it is widely known for its style- savvy interpretation of contemporary works, often making it the natural choice when living composers are looking for ensembles to premiere or record new compositions. The ensemble has set the standard for chamber music in Denmark and has had an immense influence on the entire cultural scene, both regionally and nationally. They perform some 80 concerts a year, with varied programs including chamber concerts, school concerts, operas, festival collaborations at home and abroad, workshops for young composers, and numerous other projects.

Francine Vis barokk-, samtids- og romantisk repertoar med forskjellige internasjonale orkestre.

In the field of contemporary music, Francine Vis can be called a specialist. During many years she took part in avant-garde projects with Silbersee. She gracefully performs vocal acrobatics by Georges Aperghis, Luciano Berio, Giacinto Scelsi, John Cage and many living composers - experiencing the great joy and freedom of creating music for the first time at world premieres. During and after her studies at the opera academy in Copenhagen, she sang Flora (La Traviata, Verdi, 2012), Mercedes (Carmen, Bizet, 2013), Pernille (Maskarade, Nielsen, 2016) and Cherubino (Le Nozze di Figaro, Mozart, 2017) at the Royal Danish Opera. She sang the leading role of Gwendolen in Vadstena, Sweden (world premiere of The Importance of being Earnest, by B. Tommy Anderson, 2017) and the title role Carmen with the Danish National Opera in 2018. Also in 2018, she sang and conducted a new music theatre production with music by Ligeti, among others, at the Opera Forward Festival by the Dutch National Opera in Amsterdam. She currently sings Tisbe (La Cenerentola, Rossini) at the Royal Swedish Opera in Stockholm. As a concert soloist, Francine performs baroque, contemporary and romantic repertoire with different international orchestras.

Francine Vis Francine Vis kan kalles en spesialist innen samtidsmusikken. I mange år deltok hun i avantgardeprosjekter med Silbersee. Hun kaster seg med letthet over vokalakrobatikk av Georges Aperghis, Luciano Berio, Giacinto Scelsi, John Cage og mange nålevende komponister, og opplever stor glede og frihet ved å urfremføre musikk. Under og etter studiene ved operaakademiet i København sang hun Flora (La Traviata, Verdi 2012), Mercedes (Carmen, Bizet 2013), Pernille (Maskarade, Nielsen 2016) og Cherubino (Le Nozze di Figaro, Mozart 2017) ved den kongelige danske opera. Hun sang hovedrollen i Gwendolen i Vadstena, Sverige (The Importance of Being Earnest, verdenspremiere av B Tommy Anderson 2017) og tittelrollen Carmen med den danske nasjonale operaen i 2018. Hun sang og dirigerte også en ny musikkteaterproduksjon med musikk av blant annet Ligeti på Opera Forward Festival fra Dutch National Opera i Amsterdam i 2018. Hun synger for tiden Tisbe (La Cenerentola, Rossini) på den kongelige svenske operaen i Stockholm. Som konsertsolist fremfører

Gro Bergrabb Gro Bergrabb har vært domkantor i Bodø siden 2007. Hun er opprinnelig fra Bodø og fikk sin første orgelundervisning av tidligere domkantor i Bodø, Bjørn Andor Drage. Hun tok senere hovedfagseksamen i kirkemusikk ved Norges musikkhøyskole i Oslo som

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elev av blant andre Terje Winge og Jon Laukvik, og ved Hochschule der Künste i Berlin. Som domkantor i Bodø har hun gjennom mange år hatt kunstnerisk ansvar for Bodø internasjonale orgelfestival og vært dirigent for Bodø domkirkes ungdomskor i ti år og Bodø domkirkes jentekor. Høsten 2019 overtok hun som kunstnerisk leder for Bodø domkor.

Guro Lødemel was born and raised on Straumen in Sørfold, a small town 60 km. outside Bodø. In the spring of 2010, Guro completed her Master’s Degree in performance of classical song at the Norwegian School of Music with Professor Barbro MarklundPetersone, receiving the highest grade. Guro has taken parts of the Master’s program in Lyon, France at the Conservatoire Nationale Supérieur de musique et de dans Lyon with Professor Francoise Pollet. Through her master’s program, she has also been taught by Professor Håkan Hagegård, Professor Randi Stene, and Mona Julsrud. Guro is often used as a song soloist. She is also a permanent 1st soprano in the Norwegian Soloist Choir.

Gro Bergrabb has been a cantor in Bodø since 2007. She is originally from Bodø and received her first organ lessons from a former cantor in Bodø, Bjørn Andor Drage. She later graduated in church music at the Norwegian Academy of Music in Oslo as a student of, among others, Terje Winge and Jon Laukvik, and at the Hochschule der Künste in Berlin. As a cantor in Bodø, she has for many years held artistic responsibility for Bodø International Organ Festival, and been conductor of Bodø Cathedral’s youth choir for ten years, as well as Bodø Cathedral’s girls choir. In the fall of 2019 she took over as artistic director for Bodø cathedral.

Henrik Sand Dagfinnrud Henrik Sand Dagfinrud er utdannet ved Norges Musikkhøgskole, med Folke Bengtson som hovedlærer. Han har også sunget med pedagoger som Carsten Stabell, Ståle Ytterli, Susanne Eken og Barbro Marklund. I tillegg til solistoppgaver innen standardrepertoaret av kirkemusikk har han sunget i sceniske produksjoner ved bl a Den Norske Opera og Ballett og Nationaltheatret. Henrik synger til daglig med ensemblet Vocal art. Han har sunget med Det Norske Solistkor, Nordic Voices og er en mye benyttet ensemblesanger i konserter og sceniske produksjoner.

Guro Lødemel Guro Lødemel er født og oppvokst på Straumen i Sørfold, ei lita bygd 6 mil utenfor Bodø. Våren 2010 fullførte Guro sin Mastergrad i utøvende, klassisk sang på Norges Musikkhøgskole hos professor Barbro Marklund-Petersone, med høyeste karakter. Deler av Masterstudiet har Guro tatt i Lyon, Frankrike ved Conservatoire Nationale Supérieur de musique et de danse Lyon hos professor Francoise Pollet. Gjennom masterstudiet har hun også hatt undervisning av professor Håkan Hagegård, professor Randi Stene og Mona Julsrud. Guro benyttes ofte som sangsolist og er også fast 1. sopran i Det Norske Solistkor.

Henrik Sand Dagfinrud studied at the Norwegian Academy of Music, with Folke Bengtson as head teacher. He has also sung with pedagogues such as Carsten Stabell, Ståle Ytterli, Susanne Eken and Barbro Marklund. In addition to solo assignments within the standard repertoire of church music, he has sung in stage productions at the Norwegian Opera and Ballet and the National Theater. Henrik currently

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sings with the ensemble Vocal art. He has also sung with the Norwegian Soloist Choir, Nordic Voices, and is a widely used ensemble singer in concerts and stage productions.

ensemble Ginnungagap 2001–05, Vestoppland Chamber Choir 2003–05 and conducted the Norwegian Youth Choir 2004 and 2005. 2007 Almenning took the position as conductor for the chamber choir Ensemble 96. The recording «Kind» from 2010 was nominated for a GRAMMY in the category «Best Choral Performance». As a singer and conductor Almenning has work with groups such as The Norwegian Soloists Choir, Barents International Chamber Choir, Eric Ericsson Chamber Choir and The Swedish Radio Choir. He is artistic leader of the professional vocal group Vocal art in Bodø. Almenning started his position as Domkantor - Music Director, at Bergen Cathedral in 2009 and founded at the same time Bergen Cathedral Choir. The choir released the CD Credo in 2015, a composer portrait by Trond H.F. Kverno. In 2017 the choir was nominated for GRAMMY in the category «Best Choral Performance» together with Bergen Filharmonic Choir and others, for a recording of music by Janacek.

Kjetil Almenning Kjetil Almenning har bachelorgrad i kirkemusikk fra Norges musikkhøgskole og diplomeksamen i kordireksjon fra Kungliga Musikhögskolan i Stockholm. Almenning var kunstnerisk leder og dirigent for det norske vokalensemblet Ginnungagap 2001–05, dirigerte Vestoppland Kammerkor 2003–05 og var dirigent for Norges ungdomskor 2004–05. Høsten 2007 overtok Almenning stillingen som dirigent for kammerkoret Ensemble 96. 2010 kom platen «Kind», og i 2011 ble denne nominert til GRAMMY i USA, i kategorien «Best Choral Performance». Som sanger og dirigent har Almenning arbeidet med ensembler som Det Norske Solistkor, Barents International Chamber Choir, Eric Ericsons Kammarkör og Svenska Radiokören, og er kunstnerisk leder for den profesjonelle vokalgruppen Vocal Art i Bodø.

Lars Berbusmel

Almenning ble ansatt som domkantor i Bergen domkirke menighet i 2009 og etablerte Bergen Domkor samme år. Domkoret gav i 2015 ut platen Credo, et portrett av komponisten Trond H.F. Kverno. I 2017 ble domkoret sammen med Bergen Filharmoniske kor og flere nominert til GRAMMY i kategorien «Best Choral Performance» for en plate med musikk av Janacek.

Lars Berbusmel er en 30 år gammel kokk, opprinnelig fra Ørnes i Meløy Kommune. Har tidligere jobbet for bla Jordbærpikene, Renaa Matbaren og Rica Nidelven i Trondheim. I Bodø for Restaurant Bjørk og Hundholmen Brygghus og driver og er medeier i Brødrene Berbusmel Bakeri og Deli.

Lars Berbusmel is a 30-year-old chef, originally from Ørnes in Meløy. He has worked for Jordbærpikene , Renaa Matbaren and Rica Nidelven in Trondheim; Restaurant Bjørk and Hundholmen Brygghus in Bodø; and now co-owns and runs The Brothers Berbusmel Bakery and Deli.

Kjetil Almenning holds a bachelor’s degree in church music from the Norwegian School of Music and a diploma in choral conducting from the Royal Swedish Academy of Music in Stockholm. Almenning was artistic leader and conductor for the Norwegian vocal

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My Hellgren

Riikka Siirala

My Hellgren bor i Göteborg, Sverige, og jobber som freelance cellist. Hun er for det meste aktiv innen samtidsmusikk og er medlem av «Curious chamber players», ensemblet Mimitabu og Gahlmm. Hun spiller også med ensembler som Gageego! og Scenatet, og opptrer med forskjellige mindre kammermusikk-konstellasjoner, for eksempel duo med fløytisten Anna Svensdotter. My liker å jobbe tett med komponister og har urfremført mange solo- og kammermusikkverk. Hun har en lidenskap for eksperimentelle og crossover-prosjekter og har blant annet spilt inn en video med det elektroakustiske instrumentet Halldorophone, og hun er også veldig interessert i å utforske improvisasjonsfeltet. My er utdannet ved Royal Academy of Music i København og ved Academy of music and drama ved Göteborgs universitet.

Riikka Siirala er dansekunstner og dramainstruktør fra Helsinki. Sammen med en arbeidsgruppe har hun laget flere forestillinger som kombinerer dans, lyd og musikk, f.eks. Cracks in the Island (Saaren halkeamia), Over den mørke elven Tuoni (Yli tuonen tumman virran), Memory game (Muistipeli) og Dreams of Land (Maan Unia). Sammen med Laura Kairamo har Siirala grunnlagt Loiske Ensemble, som lager forestillinger for babyer, små barn og deres familier: Skau (Metsä 2019), BabyTango (2017), BabySauna (2015), Zukkapaitupumbula (2013), Kukuluku (2008), Små mirakler (Pieniä ihmeitä, 2006) og Kiitolaukkaa kipitikolkkaa (2014). I tillegg har hun opptrådt i f.eks. OSIRIS teaterproduksjon Birth (Synty) og dansedrama HS. som Helene Schjerfbeck, og har vært gjestedanser i Matka Reimsiin (Il viaggio a Reims) i den finske nasjonale operaen (regi Dario Fo). Riikka inviterer også studentene sine, fra babyer til eldre, til å oppleve afrikansk og kreativ dans.

My Hellgren lives in Göteborg, Sweden, and works as a cellist in many different contexts. She is mostly active in the contemporary music scene, and is a member of Curious Chamber Players, ensemble Mimitabu and Gahlmm. She occasionally works with other ensembles like Gageego! and Scenatet and performs with various smaller chamber music constellations, such as a duo with flutist Anna Svensdotter. My likes to work closely with composers and has premiered many solo and chamber music pieces. She has a passion for experimental and cross-over projects and has, for example, recorded a video featuring the electro-acoustic instrument Halldorophone, performed with a sounding loom, and is also very interested in exploring the field of improvisation. My studied at the Royal Academy of Music in Copenhagen and at the Academy of Music and Drama at the University of Gothenburg.

Riikka Siirala is a dance artist and drama instructor from Helsinki. Together with a working group she has done several performance pieces combining dance, sound and music, e.g. Cracks in the Island (Saaren halkeamia), Over the dark river of Tuoni (Yli tuonen tumman virran), Memory Game (Muistipeli) and Dreams of Land (Maan Unia). Together with Laura Kairamo, Siirala founded Loiske Ensemble, which performs for babies and small children and their families: Forest (2019), BabyTango (2017), BabySauna (2015), Zukkapaitupumbula (2013), Kukuluku (2008), Little Miracles (Pieniä ihmeitä, 2006) and Kiitolaukkaa kipitikolkkaa (2014). In addition she has performed in OSIRIS theatre’s production Birth (Synty) and dance drama HS. as Helene Schjerfbeck, as well as a visiting dancer in Matka Reimsiin (Il viaggio

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a Reims) in the Finnish National Opera (dir. Dario Fo). Riikka also invites her students, from babies to the elderly, to enjoy the experience of African and creative dance.

1999–2006 was Horn Professor at the School of Music, University of Michigan, Ann Arbor. He has given masterclasses all over the US, in Europe, and is a frequent guest in Brazil. Sören Hermansson has commissioned and premiered a considerable amount of repertoire for horn and is now focusing on commissioning new works for Horn and Electronics.

Sören Hermannson Sören Hermansson er internasjonalt kjent som utøver, studiomusiker og pedagog. Han studerte i Stockholm, Amsterdam og Vest-Berlin (Karajan-Academy) og har hatt orkesterstillinger i Norrköping symfoniorkester og Göteborgs symfoniorkester. Siden 1988 har Sören Hermansson viet tiden til solokarrieren og undervisningen. Konsertene hans har brakt ham til Nord- og Sør-Amerika, og til flere land i Europa. Han har undervist ved Academy of Music and Drama, University of Göteborg, Ingesund School of Music, Gjesteprofessor ved University of Wisconsin, Madison, og var i 1999–2006 professor i horn ved School of Music, University of Michigan, Ann Arbor. Han har gitt Masterclasses over hele USA og Europa, og er en hyppig gjest i Brasil. Sören Hermansson har bestilt og urfremført en betydelig mengde repertoar for horn og fokuserer nå på nye verk for horn og elektronikk.

Tim Weiss Tim Weiss er kritikerrost for sine konserter og for sin dristige programmering. Hans repertoar innen samtidsmusikk er omfattende og inkluderer mesterverk, helt nye verk og et imponerende antall urfremførelser og bestillingsverk. I mer enn to tiår har Weiss ledet Oberlin Contemporary Music Ensemble, og brakt ensemblet til et kunstnerisk nivå og virtuositet i fremføringen som konkurrerer med de aller beste. Nyere engasjementer inkluderer Arktisk Filharmoni i Norge, Orchestra 2001 i Philadelphia, Eastman Broadband Ensemble, BBC Scottish Symphony, Britten Sinfonia i London, International Contemporary Ensemble (ICE) og Melbourne Symphony i Australia. Han er også fakultetsmedlem og dirigent for Aspen Contemporary Ensemble på Aspen Music Festival and School, og kunstnerisk leder for Arktisk Filharmonisk Sinfonietta i Bodø.

Sören Hermansson is internationally known as a performer, recording artist and educator. He studied in Stockholm, Amsterdam and West-Berlin (Karajan-Academy) and has held orchestral positions in Norrköping Symphony Orchestra and Gothenburg Symphony Orchestra. Since 1988, Hermansson has devoted his time to his solo career and teaching. His performances has brought him to North and South America, and to several countries in Europe. He has taught at the Academy of Music and Drama, University of Gothenburg, Ingesund School of Music, University of Wisconsin, Madison - and between

Tim Weiss has earned critical acclaim for his performances and bold programming throughout the United States and abroad. His repertoire in contemporary music is vast and fearless, including masterworks, very recent compositions, and an impressive number of premieres and commissions. For more than two decades, Weiss has directed the Oberlin Contemporary Music Ensemble, bringing the group to a level of artistry and virtuosity in performance that rivals

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the finest new music groups. Recent engagements include the Arctic Philharmonic in Norway, Orchestra 2001 in Philadelphia, Eastman Broadband Ensemble, BBC Scottish Symphony, Britten Sinfonia in London, International Contemporary Ensemble (ICE), and the Melbourne Symphony in Australia. He also serves as a faculty member and conductor of the Aspen Contemporary Ensemble at the Aspen Music Festival and School, and he is music director of the Arctic Philharmonic Sinfonietta in Bodø, Norway.

and new technology. Through their many collaborations with cutting-edge composers and stage artists, and especially through their collaboration with sound designer Asle Karstad and visual artist Ann-Cathrin Hertling, Trondheim Voices has reached a new level in improvisation, incorporating music, movement, new technology, space, and time. The subtle interaction between the singers, the sound-designer, the audience, and the moment, is their point of navigation – making new music through listening and letting go.

Trondheim Voices

Vegar Sandholt

Trondheim Voices består av noen av Norges mest profilerte vokalister, og har gjennom de siste 10 år satt nye standarder for hva et vokalensemble kan være. I samarbeid med nyskapende komponister, med bruk av ny teknologi, og gjennom en rekke tverrkunstneriske prosjekter, har ensemblet vært banebrytende for utviklingen av kollektiv vokal-improvisasjon, og fortsetter å føre sjangeren til nye steder. Spesielt gjennom samarbeidet med lyddesigner Asle Karstad og billedkunstner Ann-Cathrin Hertling, har Trondheim Voices nådd et helt nytt improvisasjonsnivå, med både musikk, bevegelse, ny teknologi, rom og tid. Det subtile samspillet mellom sangerne, lyddesigneren, publikum og øyeblikket, er deres mål med arbeidet - å lage ny musikk gjennom å lytte og gi slipp.

Vegar Sandholt har studert kirkemusikk, orgelspill, og kordireksjon ved Norges musikkhøgskole og avla kandidateksamen i kirkemusikk i 1993 og hovedfagseksamen (cand musicae) i korledelse i 1997. Vegar var klokkenist ved konsertklokkespillet i Oslo rådhus 1999–2013. Da han i 1999 tok fatt på studiene ved Den skandinaviske klokkenistskole i Danmark, var det første gang nordmenn begynte å studere kunsten å spille klokker. Etter sin diplomeksamen i 2005, mottok han graden «maïtre carillonneur» (mesterklokkenist) samt et toårig scholarship ved solistudannelsen. Den 25. mai 2007 debuterte han i Købehavn etter fullført solistutdanning. Vegar er – siden 2001 – klokkenist ved klokkespillet i Bærum rådhus. Han har vært konsulent for de nye konsertklokkespillene i Uranienborg kirke, Bodø domkirke og Johanneskirken i Bergen. Vegar er og domkantor i St. Olav domkirke og en ofte benyttet musiker i mange sammenhenger og konserterer på klokkespill, orgel og som kordirigent i både inn- og utland. Han har turnert bl.a. i Norge, Sverige, Danmark, Tyskland, Polen, Nederland, Belgia, Frankrike, Spania, Irland, Russland og USA.

Trondheim Voices is a groundbreaking Norwegian ensemble of improvising vocalists, constantly challenging and changing the framework for how a vocal ensemble can produce sound art. Since 2001, they have solidified themselves as trailblazers within vocal and improvised music, expanding the traditional concert format, searching for new music in the interaction between the singers, the audience, the surroundings,

Vegar Sandholt is an accomplished organist and

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choir director, and graduated from the Norwegian Academy of Music in 1993. In 1997 he completed his master degree (cand. musicae) in choral conducting at the Academy. Later Sandholt studied at The Scandinavian Carillon School in Denmark for seven years. Completing his diploma in April 2005, he gained the distinction «maïtre carillonneur». He was then granted a two-year scholarship in the «soloist class». In 1999 he was asked to take up the post as «carillonneur» in Oslo City Hall. He held this position at the Oslo City Hall until 2013. He is now the carillonneur at Bærum City Hall in the nearby town of Sandvika (since 2001) and cathedral cantor at St. Olav Cathedral in Oslo. Sandholt is frequently asked to teach and to perform in Norway and abroad, both as carillonneur, organist and choral conductor.

Bodø Cathedral, Stormen, Music in Nordland, and others. In recent years, Vocal Art has put in a great deal of work to document the composer Fridthjov Anderssen, and has made the first recording of the composer’s choral music.

Ylajali Ensemble Ylajali ble etablert i Bodø i 2008 og består av 18 erfarne kvinnelige korsangere. Ensemble Ylajali driver utstrakt konsertaktivitet, ofte i samarbeid med profesjonelle musikere og komponister, og jobber målrettet for å holde et høyt musikalsk nivå. Ensemblet har fokus på nyskrevet musikk og ønsker å stimulere til at nye komposisjoner for vokalensembler blir laget. Våren 2014 gikk koret til topps i både sakral klasse og i klassen for damekor under den store og anerkjente internasjonale korkonkurransen Concorso Corale Internazionale i Riva del Garda, Italia. Også høsten 2011 konkurrerte ensemblet, og vant da to førstepriser i den norske Landskonkurransen for kor. Våren 2013 fullførte Ylajali sin første CD-innspilling. Navnet «Ylajali» er hentet fra Knut Hamsuns roman «Sult», hvor Ylajali er kvinnen hovedpersonen i romanen drømmer om og lengter etter der han vandrer i sin elendighet i Kristianias gater. Dirigent er Soetkin Baptist.

Vocal art Vocal art har gjennom mer enn ti år vært NordNorges fremste ensemble for profesjonelle sangere. Ensemblet tilpasses til hvert enkelt prosjekt, og består til daglig av seks sangere bosatt i Salten. Vocal art samarbeider med de store nordnorske kulturinstitusjonene, som NOSO, Nordland Teater, Hamsunsenteret, Bodø domkirke, Stormen og Musikk i Nordland. De siste årene har Vocal art lagt ned et stort arbeid for å dokumentere komponisten Fridthjov Anderssen, og har blant annet gjort førstegangsinnspilling av komponistens kormusikk.

Ensemble Ylajali was established in Bodø in 2008 and consists of 18 experienced female choir singers. Ensemble Ylajali extensively active, often in collaboration with professional musicians and composers, and works purposefully to maintain a high musical level. The ensemble focuses on newly written music and wants to stimulate the creation of new compositions for vocal ensembles. In the spring of 2014, the choir won both the sacred class and the women’s choir class during the large and well-known international choral

For more than ten years, Vocal Art has been northern Norway’s premier ensemble for professional singers. The ensemble is adapted to each project, and consists of six singers living in Salten. Vocal Art collaborates with major northern Norwegian cultural institutions, such as NOSO, Nordland Theater, Hamsun Center,

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competition Concorso Corale Internazionale in Riva del Garda, Italy. In 2011 the ensemble competed and won two first prizes in the first Norwegian National Competition for choirs. In the spring of 2013, Ylajali completed their first CD recording. The name «Ylajali»

is taken from Knut Hamsun’s novel Hunger, where Ylajali is the woman the protagonist of the novel longs for and dreams about as he wanders in his misery in the streets of Kristiania. Conductor: Soetkin Baptist.

Fleinvær

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"

We don’t even agree on what music is, can we even think about truth in music? Music is meant to be a representation, a staged rendering, it can speak about a certain truth, but I think it becomes interesting as much as it shows something impossible, or something that goes beyond an objective reality.

Alessandro Perini


Vädersolstavlan, an oil-on-panel painting of an atmospheric optical phenomenon, observed over Stockholm on 20 April 1535.


Nordic Music Days 2019 is supported by: Norsk Komponistforening (Norwegian Society of Composers) Norsk Kulturråd (Arts Council Norway) Nordisk Kulturfond (The Nordic Culture Fund) Nordisk Kulturkontakt (Nordic Culture Point) Fritt Ord (Free Word) Bodø Kommune (City of Bodø) Nordland Fylkeskommune (Nordland County Municipality) Norsk Komponistfond (The Norwegian Composers’ Fund)

Program book Chief Editor: Therese Birkelund Ulvo Translation/editor: Tyler Futrell Editor: Bente Leiknes Thorsen Design: Agnethe Fagerli, Frö design

Festival staff Artistic director: Therese Birkelund Ulvo Project manager: Eirik Raude Chief Producer: Bjarne Kvinnsland Producer: Ingvild Pettersen Högberg Sound engineer: Anders Tveidt Visual designer: Leif Haglund Seminar leader: Hild Borchgrevink

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See you again at Nordic Music Days 2020 Faroe Islands 23–26 September Røtur/Rødder/Roots

Organized by The Association of Faroese Composers and The Danish Composers Society in cooperation with The Nordic House in the Faroe Islands for the Council of Nordic Composers.



"

Art is not a copy of reality and should not make that a goal, neither to present «truth». «Truth» as we know it from how it is dealt with politically or socially needs confrontation and adjustment. And art or music is to me the ultimate way of dealing with that. Compared to reality, art is contradictive and exaggerative, and I postulate that music is by nature more high-resolutive in its multilayers of intentions and perceptions as well as the sheer physicality of sound and movement than any other art form. Music is and should always be completely irresponsible. At the same time, artistic expression, or art, is an invaluable platform for communicating new insight on «truth» in society, with the freedom to take any stand, ideally speaking, provided that we have a society that supports freedom of speech.

Maja Ratkje



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